{"meta":{"query_hash":"92a3e1e36a71","filters":{"venue":"CINEJ Cinema Journal"},"cohort_total":11,"direct_labels_cover":0,"predictions_cover":11,"exported":11,"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/92a3e1e36a71","api":"https://metacan.xera.ac/api/v1/cohort?venue=CINEJ+Cinema+Journal"},"results":[{"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":"W1991552812","doi":"10.5195/cinej.2014.97","title":"Preternatural Claims, Precarious Workers: The Content and Distribution of the Most Successfully Crowdfunded Documentary","year":2014,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Gothic Literature and Media Analysis","field":"Social Sciences","cited_by":0,"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":"Sirius; Race (biology); White (mutation); Sociology; Art; Aesthetics; Gender studies; Political science","score_opus":0.012515577742323692,"score_gpt":0.25885380827121574,"score_spread":0.24633823052889203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1991552812","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8632065,0.0011184071,0.0030332908,0.0052231234,0.00030851792,0.00014524236,0.0002767283,0.00018036531,0.12650783],"genre_scores_gemma":[0.9789894,0.00039692724,0.0015199287,0.00043696823,0.00018211671,0.00007358664,0.000104965526,0.0001418451,0.018154327],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99790347,0.00083876436,0.000069308684,0.00034393187,0.0005849703,0.00025962008],"domain_scores_gemma":[0.9914773,0.0049248086,0.0010866185,0.0012362743,0.0007399685,0.00053497276],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031290562,0.00037426953,0.00022923619,0.003241395,0.008920055,0.008083057,0.00078936026,0.0013187772,0.006088082],"category_scores_gemma":[0.019090816,0.00023774405,0.00012428733,0.0019247917,0.007247824,0.0038873523,0.0038462689,0.0013049926,0.0009045515],"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":[0.00021567666,0.00010990532,0.014817092,0.00033166545,0.000016642161,0.0012773417,0.75818384,0.00012588997,0.008252056,0.045971032,0.016094787,0.15460403],"study_design_scores_gemma":[0.000018988338,0.00020516902,0.04017624,0.00083721534,0.000033635988,0.0009983542,0.5190265,0.00061462197,0.005381212,0.009319913,0.42332268,0.00006549993],"about_ca_topic_score_codex":0.006108316,"about_ca_topic_score_gemma":0.0110568255,"teacher_disagreement_score":0.008920055,"about_ca_system_score_codex":0.0027967293,"about_ca_system_score_gemma":0.001605511,"threshold_uncertainty_score":0.020366669},"labels":[],"label_agreement":null},{"id":"W2039672194","doi":"10.5195/cinej.2011.24","title":"UFA Orientalism. The “Orient” in Early German Film: Lubitsch and May","year":2011,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"German Colonialism and Identity Studies","field":"Arts and Humanities","cited_by":0,"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":"Orientalism; Exoticism; German; Orient; Art; Art history; Nazism; China; History; Ancient history; Literature; Archaeology","score_opus":0.0379627588511995,"score_gpt":0.23670900542667933,"score_spread":0.19874624657547985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039672194","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5496917,0.03424477,0.0010249558,0.01855867,0.0005520988,0.0000337478,0.00018142443,0.000052380154,0.39566034],"genre_scores_gemma":[0.97934806,0.0021561368,0.00013781336,0.00051728805,0.000037879923,0.0000048886764,0.000019638674,0.000014182488,0.017764091],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997663,0.00010759682,0.000008005404,0.000026392314,0.000023256,0.00006854086],"domain_scores_gemma":[0.9998826,0.000040697192,0.000028577935,0.000009285696,0.000009963941,0.000028803312],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035793416,0.0003633058,0.00008698403,0.0007258713,0.0024298816,0.0036958824,0.00017740075,0.0007702693,0.0027026883],"category_scores_gemma":[0.0006292234,0.00018192182,0.00008869103,0.00076117786,0.0060339742,0.0023212822,0.0012968305,0.0006856472,0.00028947063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020509686,0.000034269782,0.0042500463,0.00022465446,0.000016259426,0.0013880414,0.5152405,0.00012148534,0.0032465619,0.4242963,0.023331273,0.027645508],"study_design_scores_gemma":[0.000020450289,0.00004610637,0.020352554,0.00023296828,0.000029293185,0.0011214826,0.24351934,0.00012283791,0.0019007981,0.0107372925,0.7218908,0.000026087015],"about_ca_topic_score_codex":0.021637795,"about_ca_topic_score_gemma":0.057461906,"teacher_disagreement_score":0.021637795,"about_ca_system_score_codex":0.003218544,"about_ca_system_score_gemma":0.00045284562,"threshold_uncertainty_score":0.043023705},"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":"W2136761407","doi":"10.5195/cinej.2014.111","title":"Bicycles, Airplanes and Peter Pans: Flying Scenes in Steven Spielberg's Films","year":2014,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Gothic Literature and Media Analysis","field":"Social Sciences","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; Art history; Art; World War II; Character (mathematics); History; Archaeology; Computer science","score_opus":0.011314553485984499,"score_gpt":0.27303252171722536,"score_spread":0.2617179682312409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2136761407","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65479463,0.021043649,0.0005801006,0.014798308,0.0005839833,0.00004463846,0.00027103812,0.00004787816,0.30783588],"genre_scores_gemma":[0.9657776,0.007044857,0.0003185733,0.0014137028,0.0002247162,0.000016833346,0.00008424865,0.00005072775,0.025068715],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993838,0.0003880108,0.000012302497,0.000033757213,0.00008821473,0.00009391922],"domain_scores_gemma":[0.99950695,0.00030866408,0.000067690795,0.000012411707,0.000039556577,0.000064752596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047435166,0.00040526094,0.00013794252,0.0010278632,0.006272369,0.0037978243,0.0002464078,0.0009729494,0.003281328],"category_scores_gemma":[0.0013021462,0.00021050258,0.000135069,0.0012189727,0.004716833,0.002022879,0.0012318287,0.0017356846,0.0003436938],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007141943,0.000031466905,0.0016708937,0.00018927811,0.00001298478,0.0018131423,0.9280147,0.00006222645,0.0013500542,0.024612334,0.028081076,0.014090371],"study_design_scores_gemma":[0.0000075029725,0.000041558407,0.01875671,0.0005842823,0.000027292594,0.0015865325,0.53924185,0.000067462,0.00078808854,0.0016529092,0.43721554,0.00003035764],"about_ca_topic_score_codex":0.039638985,"about_ca_topic_score_gemma":0.13602394,"teacher_disagreement_score":0.039638985,"about_ca_system_score_codex":0.002484456,"about_ca_system_score_gemma":0.00063924014,"threshold_uncertainty_score":0.07881653},"labels":[],"label_agreement":null},{"id":"W2530635335","doi":"10.5195/cinej.2016.138","title":"Bollywood of India: Geopolitical Texts of Belonging and Difference and Narratives of Mistrust and Suspicion","year":2016,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","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":"CARE Canada","funders":"","keywords":"Geopolitics; Narrative; Partition (number theory); Identity (music); Construct (python library); Meaning (existential); Gender studies; History; Sociology; Political science; Aesthetics; Literature; Art; Law; Psychology","score_opus":0.00896657114326658,"score_gpt":0.21013370654043897,"score_spread":0.2011671353971724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2530635335","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77389663,0.0050269375,0.00090317876,0.006424074,0.000341422,0.000037035832,0.00014664128,0.00007600854,0.21314803],"genre_scores_gemma":[0.9887406,0.0013638977,0.00023297274,0.00042310858,0.00005246555,0.000016064361,0.00004883975,0.00005352979,0.009068478],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993079,0.00034727383,0.000012715038,0.000047391954,0.000117175245,0.00016751318],"domain_scores_gemma":[0.9980355,0.0014327724,0.00017358568,0.00012319272,0.00007367119,0.00016137231],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078161404,0.00065903243,0.0003186642,0.001559916,0.010703741,0.008832081,0.0009228653,0.0011558231,0.0028635892],"category_scores_gemma":[0.002554545,0.0003567228,0.00014973329,0.0028877517,0.01163726,0.0037923942,0.0044980445,0.00396224,0.00030708336],"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":[0.00007769443,0.000024035835,0.000998582,0.00013317664,0.000007845743,0.0009456335,0.94584215,0.000042000956,0.0014732885,0.039356828,0.0040041567,0.0070946305],"study_design_scores_gemma":[0.000007795765,0.000044258562,0.0067421733,0.00039988643,0.000023628869,0.0009244956,0.81633,0.00011610223,0.001227879,0.003439256,0.17070666,0.000037871738],"about_ca_topic_score_codex":0.008887003,"about_ca_topic_score_gemma":0.023822876,"teacher_disagreement_score":0.010703741,"about_ca_system_score_codex":0.0037825059,"about_ca_system_score_gemma":0.0013981682,"threshold_uncertainty_score":0.027444184},"labels":[],"label_agreement":null},{"id":"W2802362205","doi":"10.5195/cinej.2017.170","title":"Bollywood in the Hollywood Era: Narratives of Ultra-nationalism, Terrorism and Violence","year":2018,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","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":"CARE Canada","funders":"","keywords":"Geopolitics; Hollywood; Empire; Nationalism; Politics; Terrorism; Rhetoric; Ideology; Narrative; Political science; Political economy; State (computer science); Power (physics); Media studies; Sociology; History; Law; Literature; Art","score_opus":0.01795291244151542,"score_gpt":0.24041110837308372,"score_spread":0.2224581959315683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802362205","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9160167,0.0034672406,0.00066021463,0.006225845,0.00022555083,0.000033104618,0.000118588156,0.000022258479,0.07323053],"genre_scores_gemma":[0.98715925,0.0011052815,0.00018620898,0.00077901926,0.00004481914,0.000029014867,0.000054854045,0.00003891968,0.0106026465],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989697,0.0006569633,0.000020321191,0.000054296557,0.00009877747,0.00019995774],"domain_scores_gemma":[0.99872845,0.0007830112,0.00015191102,0.000057023928,0.000062689,0.00021683167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015120958,0.0006460016,0.00029210965,0.0011262746,0.009494588,0.0073094596,0.00071468326,0.0015178401,0.0031025317],"category_scores_gemma":[0.002306841,0.00036938657,0.00017610355,0.00118687,0.008996633,0.00627706,0.004865023,0.0036665606,0.00034265014],"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":[0.00003701596,0.00001558795,0.0010303984,0.000053671418,0.0000042378647,0.00041837615,0.9844902,0.000013627363,0.00038367356,0.009542278,0.0019698732,0.0020409334],"study_design_scores_gemma":[0.0000036840809,0.00002051256,0.003088971,0.00013567191,0.000007116112,0.0002615743,0.92736644,0.000049617232,0.0003354084,0.001158378,0.06756003,0.000012619019],"about_ca_topic_score_codex":0.00840338,"about_ca_topic_score_gemma":0.0214447,"teacher_disagreement_score":0.009494588,"about_ca_system_score_codex":0.0034809457,"about_ca_system_score_gemma":0.0011370161,"threshold_uncertainty_score":0.025256097},"labels":[],"label_agreement":null},{"id":"W3179617679","doi":"10.5195/cinej.2021.354","title":"Baudrillard, Hyperreality, and the Evil in Othello and The Hateful Eight","year":2021,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Law in Society and Culture","field":"Social Sciences","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":"Problematization; Scholarship; Power (physics); Battle; Feud; Aesthetics; Alterity; Art; Sociology; Philosophy; Law; Literature; Epistemology; Political science; History","score_opus":0.01189943547732991,"score_gpt":0.2708180043212964,"score_spread":0.25891856884396647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3179617679","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31583545,0.009690179,0.0024393408,0.0483109,0.0014536639,0.000025066498,0.000025387988,0.000045926965,0.6221741],"genre_scores_gemma":[0.97618663,0.0008826312,0.00018219589,0.0008506253,0.00016079175,0.000008837501,0.0000034665825,0.000028499331,0.021696353],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999368,0.00038769658,0.0000086937225,0.00003930644,0.00008224119,0.00011413247],"domain_scores_gemma":[0.9994815,0.00031593905,0.000058480426,0.00003359427,0.000030095049,0.000080317855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086278253,0.0002870204,0.0001607986,0.00047800533,0.007191452,0.005564925,0.00039546113,0.0017140068,0.0026255983],"category_scores_gemma":[0.001860797,0.0002425957,0.000109374996,0.0003109797,0.022916881,0.0031117005,0.0030916533,0.0032328272,0.00020419789],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006595736,0.000029714742,0.0008050481,0.000068391215,0.0000036949555,0.0007048802,0.3296969,0.00009200727,0.00078913453,0.641696,0.015239775,0.010808546],"study_design_scores_gemma":[0.000033084623,0.00004552391,0.005006031,0.0005583446,0.000010096757,0.00080161594,0.23913093,0.0003302594,0.000943617,0.09975148,0.65335,0.000039105384],"about_ca_topic_score_codex":0.010275666,"about_ca_topic_score_gemma":0.02482689,"teacher_disagreement_score":0.010275666,"about_ca_system_score_codex":0.0026496311,"about_ca_system_score_gemma":0.0008106905,"threshold_uncertainty_score":0.020431697},"labels":[],"label_agreement":null},{"id":"W4200383087","doi":"10.5195/cinej.2021.450","title":"Changes in Women’s Representations in Turkish Cinema from the 1980s to the Early 1990s","year":2021,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Turkey's Politics and Society","field":"Social Sciences","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; Turkish; Section (typography); Gender studies; Politics; Sociology; Art; Political science; Art history; Law; Philosophy; Advertising; Linguistics","score_opus":0.024493511900920948,"score_gpt":0.31305210450916526,"score_spread":0.2885585926082443,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200383087","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9474281,0.0057224142,0.00021651461,0.0018390609,0.00021971125,0.00002543922,0.00024581837,0.00002633651,0.04427663],"genre_scores_gemma":[0.9926253,0.0016097574,0.00007652672,0.00015728429,0.000075111,0.000014416648,0.000098770724,0.00001973998,0.0053231255],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988555,0.0003304149,0.000048709713,0.00016255442,0.0002387614,0.00036409232],"domain_scores_gemma":[0.99875414,0.0002603663,0.00036620768,0.000058483474,0.0003758156,0.0001849241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015809874,0.000653856,0.00026875277,0.0033745558,0.0037152977,0.003967722,0.0006877312,0.0012429872,0.005682813],"category_scores_gemma":[0.003533342,0.00029950668,0.00020196145,0.0019519662,0.0027297607,0.002279838,0.0023503867,0.0012116404,0.0006747163],"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":[0.00043134883,0.00008558739,0.028419374,0.00038910002,0.000023852273,0.0020557926,0.89816725,0.000064016094,0.0052417535,0.007987892,0.008273688,0.048860338],"study_design_scores_gemma":[0.000014082552,0.00011038948,0.17431618,0.0005203246,0.000030187986,0.001873048,0.6061527,0.00009469653,0.0018187822,0.00051813835,0.21448986,0.00006160634],"about_ca_topic_score_codex":0.017589016,"about_ca_topic_score_gemma":0.034078915,"teacher_disagreement_score":0.017589016,"about_ca_system_score_codex":0.0048933937,"about_ca_system_score_gemma":0.0008566897,"threshold_uncertainty_score":0.035504222},"labels":[],"label_agreement":null},{"id":"W4232781462","doi":"10.5195/cinej.2013.75","title":"Editorial","year":2013,"lang":"en","type":"editorial","venue":"CINEJ Cinema Journal","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":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; China; Neorealism (international relations); Media studies; Art; Political science; Art history; Sociology; Law; International relations; Politics","score_opus":0.009062193798785687,"score_gpt":0.2170175128133756,"score_spread":0.2079553190145899,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232781462","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":[0.00003607811,0.0026048315,0.00006616134,0.017282432,0.9682187,0.000034998062,0.000091513604,0.00007068839,0.011594668],"genre_scores_gemma":[0.0006245737,0.0038900569,0.000106324704,0.016333546,0.9162041,0.000042053336,0.00012757917,0.00007951484,0.0625922],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966497,0.0003577594,0.0003542894,0.0005388442,0.001810449,0.00028905337],"domain_scores_gemma":[0.98827094,0.002127523,0.0006334138,0.00054510834,0.006104999,0.0023179557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002982537,0.0023953347,0.0019905043,0.0027972935,0.0030591295,0.006228971,0.0024961317,0.0075430064,0.084565446],"category_scores_gemma":[0.0153937545,0.0006554317,0.0016383289,0.0012967539,0.001284573,0.003440132,0.0014882166,0.0083396025,0.05918415],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008313746,0.00000598142,0.000012956353,0.00006741534,0.0000024306105,0.00005601382,0.000006982786,0.0000063619445,0.000025811893,0.0001477835,0.9951416,0.004518311],"study_design_scores_gemma":[0.000014387448,0.000008319417,0.00010317396,0.00019873177,0.0000065110326,0.00010427273,0.00002344715,0.00002649413,0.000048817146,0.00027486935,0.9991862,0.000004813753],"about_ca_topic_score_codex":0.0014337335,"about_ca_topic_score_gemma":0.0033011027,"teacher_disagreement_score":0.084565446,"about_ca_system_score_codex":0.0021541007,"about_ca_system_score_gemma":0.0029408615,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4242539535","doi":"10.5195/cinej.2019.178","title":"Bollywood in the Hollywood Era: Narratives of Ultra-nationalism, Terrorism and Violence","year":2019,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","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":"CARE Canada","funders":"","keywords":"Geopolitics; Hollywood; Empire; Nationalism; Rhetoric; Politics; Ideology; Narrative; Terrorism; Political science; Political economy; State (computer science); Power (physics); Media studies; Sociology; History; Law; Literature; Art","score_opus":0.011709587742821914,"score_gpt":0.2183837817167292,"score_spread":0.2066741939739073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242539535","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90996283,0.0036472746,0.0006617856,0.006473941,0.00024107803,0.000035187364,0.00012650121,0.0000233716,0.07882803],"genre_scores_gemma":[0.9863196,0.0011634642,0.0001866778,0.0008167149,0.000047056124,0.000029912318,0.000056334004,0.000040860188,0.011339369],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989761,0.0006504888,0.000019865141,0.000053356205,0.00009846228,0.00020163784],"domain_scores_gemma":[0.9987311,0.00077840046,0.00015268469,0.000055703855,0.000063696905,0.00021853205],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015125832,0.00064875896,0.00029261163,0.0011561309,0.009537532,0.007478248,0.00071656896,0.0015203028,0.0031518375],"category_scores_gemma":[0.002254109,0.00036856555,0.00017496424,0.0012134498,0.009049314,0.0062249904,0.0048416425,0.0037351486,0.0003511059],"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":[0.0000363056,0.000015570782,0.0009901036,0.0000540712,0.000004145725,0.0004096766,0.9844156,0.000013222756,0.0003819041,0.009627098,0.0020491031,0.0020031997],"study_design_scores_gemma":[0.00000357015,0.000020314314,0.0029692452,0.00013647029,0.0000067216033,0.00025958044,0.9259177,0.000048808943,0.00032863085,0.0011321421,0.069164276,0.000012388803],"about_ca_topic_score_codex":0.008642548,"about_ca_topic_score_gemma":0.021942267,"teacher_disagreement_score":0.009537532,"about_ca_system_score_codex":0.0035800745,"about_ca_system_score_gemma":0.0011695982,"threshold_uncertainty_score":0.025975406},"labels":[],"label_agreement":null}]}