{"meta":{"query_hash":"6f9931559213","filters":{"venue":"Journal of Popular Film and Television"},"cohort_total":14,"direct_labels_cover":0,"predictions_cover":14,"exported":14,"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/6f9931559213","api":"https://metacan.xera.ac/api/v1/cohort?venue=Journal+of+Popular+Film+and+Television"},"results":[{"id":"W2051103232","doi":"10.1080/01956051.2011.562934","title":"Ex(or)cising the Spirit of Japan:<i>Ringu, The Ring</i>, and the Persistence of Japan","year":2011,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Japanese History and Culture","field":"Social Sciences","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":"McMaster University","funders":"","keywords":"Movie theater; Context (archaeology); Criticism; Orientalism; Studio; Persistence (discontinuity); Adaptation (eye); History; Ring (chemistry); Character (mathematics); Literature; Media studies; Sociology; Art; Art history; Visual arts; Psychology; Engineering","score_opus":0.04577880891450146,"score_gpt":0.26532791108196624,"score_spread":0.2195491021674648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2051103232","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8653319,0.0031245279,0.00078735757,0.0058528245,0.00015079725,0.000011883133,0.000022463444,0.000015769052,0.12470257],"genre_scores_gemma":[0.9974903,0.00037954625,0.00010298814,0.00014247891,0.000021719876,0.0000028652755,0.0000031388151,0.0000051623874,0.0018518084],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993586,0.00032410384,0.000020532418,0.00007962992,0.00006240967,0.00015476756],"domain_scores_gemma":[0.9992061,0.0001857891,0.00023852677,0.00009390144,0.00010884243,0.00016683707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015547156,0.00018545284,0.00019384574,0.0006250928,0.004812442,0.006330274,0.00036292174,0.0007481813,0.002297645],"category_scores_gemma":[0.0014888054,0.00015431613,0.00011608859,0.0008889579,0.012706318,0.003928464,0.0033196958,0.0014474109,0.00011254919],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013197355,0.00003595779,0.008418595,0.00018079636,0.000017598502,0.0009760774,0.7685444,0.000046588786,0.0028757113,0.20050421,0.002876124,0.015392005],"study_design_scores_gemma":[0.000015832175,0.00011981228,0.03700728,0.00024158676,0.0000572459,0.0006000952,0.7833615,0.00021165365,0.00095369533,0.014193469,0.16318671,0.000051054423],"about_ca_topic_score_codex":0.011181552,"about_ca_topic_score_gemma":0.02025566,"teacher_disagreement_score":0.011181552,"about_ca_system_score_codex":0.0025753693,"about_ca_system_score_gemma":0.0013408636,"threshold_uncertainty_score":0.02223295},"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":"W2522984800","doi":"10.1080/01956051.2016.1161585","title":"“Could We Not Dye It Red at Least?”: Color and Race in West Side Story","year":2016,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Toronto Metropolitan University","funders":"University of Toronto; York University","keywords":"Dance; Art; Style (visual arts); Movie theater; Race (biology); Cinematography; Core (optical fiber); Aesthetics; Visual arts; Sociology; Gender studies; Optics; Physics","score_opus":0.023011446770301112,"score_gpt":0.22422520321551348,"score_spread":0.20121375644521236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2522984800","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":[0.65115815,0.0069955667,0.0019785312,0.0668559,0.0010323944,0.000038248294,0.0000499707,0.000029977627,0.27186134],"genre_scores_gemma":[0.9832081,0.0011517449,0.00023779852,0.0031267896,0.00013591062,0.000013088638,0.000008151185,0.000023472558,0.012094921],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985605,0.0010530783,0.000018048642,0.000078776786,0.0001359833,0.000153601],"domain_scores_gemma":[0.99889416,0.00063907023,0.00014494732,0.00004162342,0.00011884942,0.00016138014],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016068575,0.00025901818,0.00016570301,0.0004843179,0.008420722,0.0059126243,0.0005627118,0.0015626686,0.0032553724],"category_scores_gemma":[0.004157193,0.0002549036,0.00013643802,0.0003852467,0.012604939,0.0041663963,0.0022942254,0.0028011028,0.00029395492],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013725355,0.00005527903,0.0045386814,0.00010061469,0.000013398811,0.0011013796,0.85449576,0.000035303554,0.0010172065,0.10009492,0.021554325,0.016855868],"study_design_scores_gemma":[0.000022011309,0.00009227986,0.011893195,0.0002938423,0.000031844444,0.001642584,0.71501213,0.00020968425,0.0016408259,0.01346721,0.2556605,0.00003388608],"about_ca_topic_score_codex":0.015263049,"about_ca_topic_score_gemma":0.025635554,"teacher_disagreement_score":0.015263049,"about_ca_system_score_codex":0.0019527058,"about_ca_system_score_gemma":0.0007297328,"threshold_uncertainty_score":0.03034842},"labels":[],"label_agreement":null},{"id":"W2735490436","doi":"10.1080/01956051.2017.1319242","title":"The Truth Will Set You Free: Implicit Faith in Sherlock and London Spy","year":2017,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Crime and Detective Fiction Studies","field":"Arts and Humanities","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 Toronto Scarborough","keywords":"Faith; Narrative; Rhetorical question; TRACE (psycholinguistics); Sociology; Literature; History; Art; Philosophy; Epistemology","score_opus":0.027707244409543266,"score_gpt":0.2725646436689347,"score_spread":0.24485739925939143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2735490436","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5592621,0.004567817,0.003978698,0.044722807,0.0004034965,0.000026439795,0.00009024554,0.00007735935,0.38687104],"genre_scores_gemma":[0.98743546,0.0002469072,0.00015704348,0.00082998077,0.00003734217,0.0000044536296,0.0000110477395,0.000034399643,0.011243324],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975401,0.0013219184,0.00006486784,0.00021935345,0.0004897904,0.00036405213],"domain_scores_gemma":[0.9941551,0.0038377428,0.00065590395,0.00047566227,0.00043092543,0.00044478726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020250913,0.0002857606,0.0002421885,0.00086120464,0.008800209,0.010205528,0.0007741573,0.0039783455,0.0065251198],"category_scores_gemma":[0.010359559,0.00045273016,0.00015680717,0.00077396625,0.033896495,0.007608925,0.0061142645,0.004968257,0.0008128858],"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":[0.000069840404,0.000012608175,0.0018702504,0.00006422732,0.000008479579,0.0012363038,0.8018714,0.00006427653,0.0006301287,0.18179563,0.005455671,0.0069210916],"study_design_scores_gemma":[0.000023383225,0.000052561907,0.0033918787,0.00043593888,0.00002069891,0.0011452079,0.62482965,0.00027746707,0.0012673195,0.042814817,0.32568863,0.000052431984],"about_ca_topic_score_codex":0.032189008,"about_ca_topic_score_gemma":0.0460028,"teacher_disagreement_score":0.032189008,"about_ca_system_score_codex":0.007317782,"about_ca_system_score_gemma":0.0017886815,"threshold_uncertainty_score":0.06400329},"labels":[],"label_agreement":null},{"id":"W2889631229","doi":"10.1080/01956051.2018.1486646","title":"SPAGHETTI WESTERNS AT THE CROSSROADS: STUDIES IN RELOCATION, TRANSITION AND APPROPRIATION Ed. Austin Fisher. Edinburgh UP, 2016. 304 pp. $110.00 hardcover.","year":2018,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Vietnamese History and Culture Studies","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":"University College of the North","funders":"","keywords":"Appropriation; Relocation; Art; Art history; Transition (genetics); Sociology; Media studies; Philosophy; Chemistry; Computer science; Epistemology","score_opus":0.032864650863817596,"score_gpt":0.3286170439653621,"score_spread":0.29575239310154455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2889631229","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":[0.010488803,0.7367335,0.00057721295,0.08766385,0.003946781,0.00003258564,0.00064120034,0.00013012732,0.15978606],"genre_scores_gemma":[0.055011578,0.38782492,0.0006470779,0.004533032,0.000990372,0.000052970994,0.00038927112,0.00015854582,0.55039227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997147,0.00009604958,0.000013426373,0.00003672697,0.000075808275,0.00006330347],"domain_scores_gemma":[0.9996594,0.00010165119,0.000049006085,0.000011387319,0.000055523753,0.00012300992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008122939,0.00088720245,0.00050279585,0.0011827219,0.0025670768,0.0032927822,0.0007885999,0.0012077896,0.05486031],"category_scores_gemma":[0.00092869403,0.00064552954,0.00023670499,0.003240602,0.0016775229,0.005569188,0.001648658,0.0017955952,0.011159952],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040967927,0.00003107688,0.0014402561,0.00050196843,0.0000048545157,0.00018608186,0.021208882,0.000031162,0.00017369451,0.013203344,0.87754804,0.08562969],"study_design_scores_gemma":[0.000003297281,0.00001926664,0.004721937,0.0011079464,0.0000050960207,0.00020422525,0.02429813,0.000021605967,0.000106102234,0.0025789042,0.96692276,0.000010703076],"about_ca_topic_score_codex":0.06466479,"about_ca_topic_score_gemma":0.16766931,"teacher_disagreement_score":0.06466479,"about_ca_system_score_codex":0.0029573163,"about_ca_system_score_gemma":0.0035862036,"threshold_uncertainty_score":0.18352604},"labels":[],"label_agreement":null},{"id":"W3164602178","doi":"10.1080/01956051.2020.1868914","title":"APOCALYPTIC VISIONS IN 21ST CENTURY FILMS. By Elizabeth A. Ford and Deborah C. Mitchell. McFarland Press, 2018. 229 pp. $49.95 paper.","year":2021,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Photography and Visual Culture","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":"Sheridan College","funders":"","keywords":"Vision; Art history; Art; Environmental ethics; Media studies; Sociology; Philosophy; Theology","score_opus":0.017051821582615458,"score_gpt":0.24484356305261165,"score_spread":0.2277917414699962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3164602178","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":[0.0011758059,0.5351994,0.0009780513,0.19517794,0.014607012,0.000024250741,0.00017470829,0.00012577791,0.25253707],"genre_scores_gemma":[0.07894462,0.3340908,0.0018828203,0.022624068,0.011637224,0.000059930986,0.00019822546,0.00026335032,0.5502988],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988059,0.00047560735,0.000054607877,0.00011901199,0.00041508855,0.00012983447],"domain_scores_gemma":[0.9988539,0.00041128558,0.00017189096,0.000069923546,0.00024876374,0.0002442227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016391838,0.0008310458,0.00031591635,0.0013045663,0.003037624,0.0074378294,0.0007019225,0.0024397122,0.049535584],"category_scores_gemma":[0.0036733083,0.0004311068,0.00025004844,0.001227636,0.005380468,0.009720531,0.0031894525,0.0058535137,0.012608394],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021322412,0.000013525239,0.00008566062,0.00020041512,0.0000030905642,0.00004704611,0.0024411345,0.000023682906,0.00009788546,0.07777199,0.85398567,0.06530865],"study_design_scores_gemma":[0.000003107318,0.00000576739,0.00031512164,0.0004270986,0.0000017420487,0.00011385174,0.0013835607,0.000019737954,0.000069356254,0.0116654085,0.98599017,0.0000050925632],"about_ca_topic_score_codex":0.009475844,"about_ca_topic_score_gemma":0.022655724,"teacher_disagreement_score":0.049535584,"about_ca_system_score_codex":0.005319154,"about_ca_system_score_gemma":0.0025343518,"threshold_uncertainty_score":0.16571307},"labels":[],"label_agreement":null},{"id":"W4391808866","doi":"10.1080/01956051.2023.2275011","title":"The Clothes Make the Woman: How Fashion Informs the Comedic Identity of <i>Schitt’s Creek</i> ’s Moira Rose","year":2023,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Fashion and Cultural Textiles","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":"Rose (mathematics); Clothing; Art; Identity (music); Art history; Visual arts; Aesthetics; History; Archaeology; Horticulture","score_opus":0.027928888108282514,"score_gpt":0.24493137208182741,"score_spread":0.2170024839735449,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391808866","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7019098,0.0012357386,0.001089403,0.0063825124,0.00020075223,0.00003419934,0.00010603119,0.000024084604,0.28901753],"genre_scores_gemma":[0.98591286,0.00040868568,0.00026501023,0.0006778803,0.000024506762,0.000010131421,0.000035376976,0.000030597716,0.012634831],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998287,0.0011028819,0.000019591778,0.00012432698,0.0002079684,0.00025805878],"domain_scores_gemma":[0.99822086,0.00084823836,0.00021358403,0.000115601426,0.00028671446,0.00031504742],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018642367,0.00034197757,0.00022725604,0.0013929867,0.0129423905,0.009767305,0.00082402583,0.0012528839,0.0067964112],"category_scores_gemma":[0.0047427774,0.00028154562,0.00014933448,0.0011632505,0.013788224,0.0028684132,0.0033213084,0.0020381322,0.000573322],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029183948,0.000010012523,0.0047375853,0.000022309843,0.000003951125,0.0005338943,0.97955817,0.000012385494,0.00032359606,0.009109511,0.0016534425,0.004005953],"study_design_scores_gemma":[0.000002474058,0.000011588054,0.0063450723,0.000075051816,0.000007014421,0.00028514143,0.9453464,0.000037156533,0.00010574741,0.0007585758,0.047013514,0.000012169938],"about_ca_topic_score_codex":0.22751674,"about_ca_topic_score_gemma":0.413075,"teacher_disagreement_score":0.22751674,"about_ca_system_score_codex":0.0071728867,"about_ca_system_score_gemma":0.003045658,"threshold_uncertainty_score":0.4523849},"labels":[],"label_agreement":null},{"id":"W4403424104","doi":"10.1080/01956051.2024.2391263","title":"Failed dreams, fresh beginnings: A conversation with Jason Karman on <i>Golden Delicious</i>","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Jungian Analytical Psychology","field":"Psychology","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":"Cape Breton University","funders":"","keywords":"Conversation; Art; Art history; Philosophy; History; Linguistics","score_opus":0.014428212953338149,"score_gpt":0.30195794575687357,"score_spread":0.28752973280353544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403424104","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":[0.4100655,0.01589355,0.0035148005,0.39777663,0.005002816,0.00024039777,0.0001522991,0.000239796,0.16711432],"genre_scores_gemma":[0.8526524,0.006062492,0.0027033256,0.07895463,0.0007383612,0.00021408175,0.00006057654,0.00028019794,0.058333952],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949062,0.0030489275,0.00007820823,0.00037851324,0.0007003647,0.00088787044],"domain_scores_gemma":[0.9957158,0.0015709582,0.00033712664,0.000091545044,0.0005006421,0.0017839476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057100453,0.0007518633,0.0006196417,0.00081529963,0.025916507,0.007248023,0.002074324,0.0042798826,0.004526109],"category_scores_gemma":[0.008657877,0.0009916291,0.00045009286,0.00075891335,0.016779266,0.008874785,0.0054574213,0.0117924595,0.0009783021],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019631074,0.000041019688,0.00073320227,0.00007017351,0.0000059900176,0.0013182258,0.9356322,0.000025118776,0.0006981476,0.011714333,0.046393886,0.0033480607],"study_design_scores_gemma":[0.00000464659,0.000027806624,0.0006955589,0.00019863053,0.0000061202227,0.00069334754,0.7825935,0.000067537534,0.00020503115,0.00083135994,0.21463701,0.000039499064],"about_ca_topic_score_codex":0.06816381,"about_ca_topic_score_gemma":0.12106695,"teacher_disagreement_score":0.06816381,"about_ca_system_score_codex":0.007818137,"about_ca_system_score_gemma":0.0069413786,"threshold_uncertainty_score":0.13553411},"labels":[],"label_agreement":null},{"id":"W4408508880","doi":"10.1080/01956051.2024.2432241","title":"Living “On the Edge”: A Conversation with Matteo Sanders and Tobias Resch","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Interdisciplinary Cultural and Social Studies","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":"Cape Breton University","funders":"","keywords":"Conversation; Gerontology; Sociology; Medicine; Communication","score_opus":0.02224334551480986,"score_gpt":0.29296015455779717,"score_spread":0.27071680904298734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408508880","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":[0.33928642,0.025402348,0.0019157083,0.47771856,0.008473874,0.00020723576,0.00018215175,0.00015746326,0.14665627],"genre_scores_gemma":[0.84104973,0.010046845,0.001230873,0.06307328,0.0024106428,0.0003486193,0.00007958608,0.00027519258,0.08148523],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99537176,0.0032716847,0.00007034573,0.00026933302,0.00050996395,0.0005068232],"domain_scores_gemma":[0.99623257,0.0022614463,0.0002511148,0.000078633086,0.00026956928,0.000906724],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00336469,0.0007017486,0.0007210685,0.0009505765,0.020622483,0.0066277795,0.0011310654,0.005261968,0.0053824894],"category_scores_gemma":[0.011005829,0.0007242747,0.00029831092,0.0008524152,0.012451611,0.0060780696,0.004213019,0.011904136,0.0009611515],"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":[0.000031529536,0.000043752178,0.00044971574,0.000090941074,0.000006021363,0.0013293471,0.90561414,0.000028269415,0.0005545363,0.014156359,0.073293306,0.004402071],"study_design_scores_gemma":[0.000008041652,0.000033989683,0.00079038145,0.00037910367,0.000006206745,0.00078517466,0.6680561,0.0000743173,0.0002941614,0.0013033958,0.32824528,0.000023785311],"about_ca_topic_score_codex":0.020288836,"about_ca_topic_score_gemma":0.032404397,"teacher_disagreement_score":0.020622483,"about_ca_system_score_codex":0.005203263,"about_ca_system_score_gemma":0.002588894,"threshold_uncertainty_score":0.040341437},"labels":[],"label_agreement":null},{"id":"W4408574735","doi":"10.1080/01956051.2024.2445996","title":"<i>Class, Identity, and Finding the Right Wine in</i> Schitt’s Creek <i>: A Place to Love</i>","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"American and British Literature Analysis","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":"Wine; Class (philosophy); Identity (music); Sociology; Genealogy; Aesthetics; Art; History; Philosophy; Epistemology; Visual arts","score_opus":0.011572553375287238,"score_gpt":0.24728439686868117,"score_spread":0.23571184349339394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408574735","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54370755,0.0021423,0.0002932103,0.04165919,0.0006411338,0.000027529848,0.00012949524,0.000017471191,0.4113821],"genre_scores_gemma":[0.9741779,0.0008754098,0.0000986274,0.0014059646,0.000071790746,0.000013855862,0.000043342683,0.000025156764,0.023287982],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990964,0.00044422655,0.000016782236,0.00006338673,0.00016492275,0.00021428369],"domain_scores_gemma":[0.99821836,0.0004481813,0.00026986637,0.00006758986,0.000273048,0.00072291924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012711629,0.00015059268,0.00017018692,0.00094637886,0.013672287,0.0087225465,0.00057182997,0.000791335,0.015784679],"category_scores_gemma":[0.0036847515,0.00014753429,0.00010593001,0.0011092405,0.009338538,0.0038954588,0.0026730811,0.002863159,0.0011424832],"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":[0.00008653034,0.00016399696,0.02630763,0.000085630854,0.000015197347,0.0004054938,0.76968884,0.00003328942,0.00018920576,0.07879068,0.09641973,0.027813664],"study_design_scores_gemma":[0.0000061681694,0.000016991893,0.027743924,0.00016695858,0.000008487091,0.000096545955,0.8574538,0.000032726533,0.00007817657,0.0030682725,0.11131218,0.000015780006],"about_ca_topic_score_codex":0.18584177,"about_ca_topic_score_gemma":0.35811526,"teacher_disagreement_score":0.18584177,"about_ca_system_score_codex":0.005071652,"about_ca_system_score_gemma":0.0039357888,"threshold_uncertainty_score":0.36952013},"labels":[],"label_agreement":null},{"id":"W4409059728","doi":"10.1080/01956051.2025.2480532","title":"Writing Gender, Writing Violence: Will Seefried on <i>Lilies Not for Me</i>","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Modern American Literature 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":"Cape Breton University","funders":"","keywords":"Psychology; Report writing; Computer science; Library science","score_opus":0.02849755277579788,"score_gpt":0.27584909964689686,"score_spread":0.24735154687109898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409059728","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":[0.047907155,0.042608976,0.0012392952,0.50002706,0.017593859,0.000060915605,0.000115834664,0.00015257066,0.39029434],"genre_scores_gemma":[0.47589242,0.016960844,0.0012684768,0.093510814,0.004022032,0.000098271,0.00007587808,0.00028343563,0.40788782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990959,0.00044104247,0.00001927359,0.00008873151,0.0002050764,0.0001499643],"domain_scores_gemma":[0.9986117,0.00061733346,0.00016695708,0.00003279917,0.0002154125,0.0003558439],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010947405,0.00037546168,0.00021813638,0.00049482746,0.0083217975,0.0051423986,0.00042614026,0.0017794153,0.010215205],"category_scores_gemma":[0.004267513,0.00017880226,0.00011578634,0.0004056683,0.005346483,0.0042131427,0.0016924524,0.0035462405,0.0021406675],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012930159,0.000023014105,0.00063255726,0.00008358938,0.000004048378,0.00048661983,0.15380125,0.000012497073,0.00032371553,0.04481315,0.77820694,0.021599669],"study_design_scores_gemma":[0.000003813649,0.000012447494,0.00068656355,0.00021598842,0.0000024626293,0.00029874328,0.097818896,0.000020415979,0.00018099316,0.0024431632,0.8983085,0.0000079462125],"about_ca_topic_score_codex":0.019329106,"about_ca_topic_score_gemma":0.048310917,"teacher_disagreement_score":0.019329106,"about_ca_system_score_codex":0.003558077,"about_ca_system_score_gemma":0.0023617449,"threshold_uncertainty_score":0.038433194},"labels":[],"label_agreement":null},{"id":"W4414593484","doi":"10.1080/01956051.2025.2559511","title":"Benjamin Howard on Life-Writing, Exorcising Demons, and Crafting Narratives in <i>Riley</i>","year":2025,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Mormonism, Religion, and History","field":"Arts and Humanities","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":"Cape Breton University","funders":"","keywords":"Narrative; Perspective (graphical); Ethnography; Theme (computing)","score_opus":0.016015333388653224,"score_gpt":0.23990210871703804,"score_spread":0.22388677532838483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414593484","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02450627,0.045986716,0.0028681064,0.44062224,0.0061460077,0.00006859002,0.000099689554,0.00008204275,0.47962037],"genre_scores_gemma":[0.59011215,0.03601732,0.0031612597,0.08812956,0.0069855107,0.00029054252,0.00007976955,0.00043445438,0.27478945],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960465,0.0027940085,0.00005249476,0.00023914585,0.00052398804,0.0003439161],"domain_scores_gemma":[0.99210584,0.006428164,0.00025373476,0.00018261524,0.00055964367,0.00047009657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005450231,0.00061981234,0.00048070418,0.0017254913,0.018828636,0.010382551,0.0020877179,0.005856501,0.006111345],"category_scores_gemma":[0.010216738,0.00039144428,0.00020236682,0.0016709475,0.025860565,0.010741951,0.0041927486,0.007851817,0.00079457776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024638526,0.00003121393,0.00029169666,0.00008452433,0.0000036933777,0.00020258203,0.12773752,0.000038989816,0.00009790184,0.62341523,0.23672318,0.011348849],"study_design_scores_gemma":[0.000016491278,0.000012842146,0.00096795626,0.00067654386,0.000008657767,0.00013139739,0.15055868,0.00009920533,0.0003603272,0.12840757,0.71873,0.000030481386],"about_ca_topic_score_codex":0.03772767,"about_ca_topic_score_gemma":0.10526144,"teacher_disagreement_score":0.03772767,"about_ca_system_score_codex":0.0054903547,"about_ca_system_score_gemma":0.005420523,"threshold_uncertainty_score":0.07501608},"labels":[],"label_agreement":null},{"id":"W4416076683","doi":"10.1080/01956051.2025.2480526","title":"<i>Virginia City vs Bonanza: A Tale of Merging Histories.</i>","year":2025,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"American Environmental and Regional History","field":"Environmental Science","cited_by":0,"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 College of the North","funders":"","keywords":"Identification (biology); Field (mathematics); Feature (linguistics); Set (abstract data type); Government (linguistics)","score_opus":0.004731154089421672,"score_gpt":0.20948247658322577,"score_spread":0.2047513224938041,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416076683","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051298898,0.02384485,0.0006484569,0.10412961,0.003732557,0.000032486663,0.0006592977,0.00012287988,0.815531],"genre_scores_gemma":[0.6692084,0.010639256,0.00087879814,0.021541424,0.001222294,0.00009063467,0.0008550179,0.00048013276,0.29508397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989649,0.00034214166,0.000017246912,0.00010672348,0.00018328112,0.00038569223],"domain_scores_gemma":[0.999298,0.00015034435,0.00008379942,0.000044905235,0.0001674917,0.0002555517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009028543,0.0003900167,0.0001962384,0.002490419,0.023580112,0.01324595,0.00102434,0.0020625317,0.019635173],"category_scores_gemma":[0.0024806738,0.0003228167,0.00017714196,0.0039647967,0.006849621,0.0097908685,0.0053938814,0.0033195615,0.0019344755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091862945,0.000020895031,0.0056011463,0.000071588394,0.000015147365,0.00035816734,0.12212224,0.00003551996,0.0002642157,0.33490884,0.47813845,0.058371905],"study_design_scores_gemma":[0.000002379262,0.0000049368996,0.0048671723,0.00018332551,0.0000062484964,0.00008726894,0.08667951,0.000021458538,0.0000943462,0.0035550478,0.9044867,0.000011590905],"about_ca_topic_score_codex":0.26839858,"about_ca_topic_score_gemma":0.60031915,"teacher_disagreement_score":0.26839858,"about_ca_system_score_codex":0.012504606,"about_ca_system_score_gemma":0.0051672333,"threshold_uncertainty_score":0.5336727},"labels":[],"label_agreement":null},{"id":"W4416873076","doi":"10.1080/01956051.2025.2582386","title":"Liam Calvert on the Journeys in <i>A Night Like This</i>","year":2025,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Contemporary Literature and Criticism","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":"Cape Breton University","funders":"","keywords":"Feature (linguistics); Period (music); Gloom; Government (linguistics)","score_opus":0.01403309074294779,"score_gpt":0.23061759388838468,"score_spread":0.2165845031454369,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416873076","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06301524,0.03225368,0.0018096254,0.20759402,0.0047697905,0.00007846374,0.00011843447,0.00019827932,0.6901625],"genre_scores_gemma":[0.5536487,0.007509957,0.0011345283,0.03558011,0.00088932854,0.00006135026,0.000056925248,0.00027425255,0.40084484],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991567,0.00049456296,0.000011575279,0.000077634715,0.0001402577,0.0001192398],"domain_scores_gemma":[0.99921954,0.00026447568,0.000078885714,0.00004217622,0.000121986835,0.00027301707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006057829,0.00037939072,0.0001986371,0.00060343096,0.011019114,0.006724706,0.0006405285,0.0027297894,0.010535571],"category_scores_gemma":[0.0025476145,0.00021738786,0.00015935043,0.00051937666,0.006083807,0.003584016,0.0026164202,0.005496357,0.0022024466],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045474328,0.00003412307,0.0010452076,0.00015365526,0.0000075437774,0.0011103165,0.27697015,0.000054606466,0.00054191984,0.1243431,0.5669258,0.028768044],"study_design_scores_gemma":[0.000003182944,0.0000139979165,0.00093812414,0.00022996421,0.000002778422,0.00029430768,0.07704048,0.000037465154,0.00020290978,0.002712152,0.9185144,0.000010184128],"about_ca_topic_score_codex":0.024428697,"about_ca_topic_score_gemma":0.07614093,"teacher_disagreement_score":0.024428697,"about_ca_system_score_codex":0.0034768458,"about_ca_system_score_gemma":0.0014027294,"threshold_uncertainty_score":0.048573017},"labels":[],"label_agreement":null}]}