{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":712,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":712,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"1c2bae0f1813","filters":{"topic":"South Asian Cinema and Culture"}},"results":[{"id":"W2505034094","doi":"10.1093/cww/vpw020","title":"The Repeating Body: Slavery’s Visual Resonance in the Contemporary","year":2016,"lang":"en","type":"article","venue":"Contemporary Women s Writing","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":96,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Embodied cognition; Vision; Indexicality; Aesthetics; Event (particle physics); Art; Vulnerability (computing); Sight; Visual arts; Sociology; Literature; Philosophy; Anthropology; Linguistics; Epistemology; Computer science","authors":[{"name":"Sandra Smiley Trimble","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03347423773472935,"gpt":0.2459485865555329,"spread":0.2124743488208035,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001156202,0.0003860954,0.0002313163,0.0006556126,0.005275621,0.006203361,0.0006034637,0.001374236,0.004185596],"category_scores_gemma":[0.001939072,0.0002155183,0.0002486361,0.0005602676,0.01967569,0.00357608,0.003844329,0.002739703,0.0003557925],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001616946,"about_ca_system_score_gemma":0.0009431685,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003947285,"about_ca_topic_score_gemma":0.006328142,"domain_scores_codex":[0.9993308,0.0004289078,0.000007641419,0.00006881279,0.00008140515,0.00008261821],"domain_scores_gemma":[0.9994889,0.0003050247,0.00004175973,0.00006331827,0.00003897296,0.00006205102],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002679696,0.00001041117,0.0005184206,0.00006394864,0.000004150942,0.0005911299,0.8480389,0.00006893611,0.002001666,0.1368009,0.004627267,0.007247491],"study_design_scores_gemma":[0.00002147279,0.00008169315,0.003378634,0.0003492462,0.00001707605,0.001714155,0.6068744,0.0005307964,0.002197434,0.03307555,0.3517236,0.00003599025],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3943278,0.003578782,0.009298979,0.01445969,0.0008446207,0.0000437467,0.00006198542,0.0001702011,0.5772142],"genre_scores_gemma":[0.9639356,0.0006996944,0.001307959,0.00100573,0.0001408955,0.00002570572,0.00001738943,0.0001359719,0.03273115],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.006203361,"threshold_uncertainty_score":0.0140022,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2995294681","doi":"10.7202/1066403ar","title":"Women’s Household Drama: Love’s Victorie, A Pastorall, and The concealed Fansyes","year":2019,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":67,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Windsor","funders":"","keywords":"Drama; Art; Literature","authors":[{"name":"Mark Albert Johnston","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01219966331126283,"gpt":0.1874227574332863,"spread":0.1752230941220235,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001482745,0.0003705952,0.0001850326,0.0004727449,0.005520352,0.004762452,0.0004264202,0.001172955,0.006933436],"category_scores_gemma":[0.001865757,0.0001483584,0.0001562348,0.0005257725,0.008980577,0.003391042,0.002873609,0.002363991,0.0004028543],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002192274,"about_ca_system_score_gemma":0.0009726311,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01122145,"about_ca_topic_score_gemma":0.02679347,"domain_scores_codex":[0.9993106,0.0004489135,0.000008605336,0.00004526405,0.00006192941,0.0001246614],"domain_scores_gemma":[0.9993881,0.0003224058,0.00006219857,0.00004180795,0.00005954536,0.0001259603],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001000237,0.00004781892,0.002307307,0.0001330413,0.00001259393,0.0006397557,0.8397943,0.00005863379,0.0009640591,0.0920129,0.04734946,0.01658005],"study_design_scores_gemma":[0.0000181953,0.00003407955,0.005203818,0.0001883461,0.00001025518,0.0003792102,0.519788,0.00009001434,0.0005905736,0.004549786,0.4691318,0.00001599419],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4359817,0.01579609,0.002100639,0.06985337,0.00195228,0.00003690063,0.0002003557,0.00008806514,0.4739906],"genre_scores_gemma":[0.969104,0.001336195,0.0001809361,0.001485489,0.0002042784,0.00001056365,0.0000243792,0.00004205961,0.02761216],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01122145,"threshold_uncertainty_score":0.02319461,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W586184178","doi":"","title":"Contracting out Hollywood : runaway productions and foreign location shooting","year":2005,"lang":"en","type":"book","venue":"Rowman & Littlefield eBooks","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":64,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Hollywood; Studio; Competition (biology); Media studies; Film industry; Visual arts; Advertising; Engineering; Political science; Art; Economy; Movie theater; Sociology; Art history; Business; Economics","authors":[{"name":"Greg Elmer","is_ca":false},{"name":"Mike Gasher","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0263737074651331,"gpt":0.2118972653795181,"spread":0.185523557914385,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002884249,0.0005669394,0.0002437905,0.0008313745,0.006834006,0.008494093,0.0007500877,0.001129276,0.06458976],"category_scores_gemma":[0.0005549139,0.0003134783,0.0001645407,0.001798107,0.003281221,0.004484249,0.003099435,0.002321971,0.00393914],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004633851,"about_ca_system_score_gemma":0.002659358,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04659147,"about_ca_topic_score_gemma":0.1641714,"domain_scores_codex":[0.9997141,0.00004465794,0.000005527189,0.00004274188,0.00008661709,0.0001064105],"domain_scores_gemma":[0.999786,0.00005860953,0.00001615181,0.00001889123,0.00003378155,0.00008666199],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000586753,0.0001418198,0.001027301,0.0003128597,0.000005975213,0.0007774338,0.1287871,0.0001634646,0.0009036361,0.388929,0.3251482,0.1537445],"study_design_scores_gemma":[0.000003681632,0.0000193617,0.003335106,0.0002726507,0.000003963156,0.0002332763,0.06503721,0.0000544993,0.0002865325,0.006575793,0.9241692,0.000008810626],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01757834,0.006281479,0.0003313478,0.002984968,0.0003900434,0.00002465023,0.00004374117,0.0000518012,0.9723136],"genre_scores_gemma":[0.1450492,0.005848965,0.000401885,0.0008388318,0.0001844546,0.00002255439,0.00008423256,0.0001518077,0.847418],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.06458976,"threshold_uncertainty_score":0.2160743,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2105824915","doi":"10.1177/1470593108093555","title":"Weaving a web: subaltern consumers, rising consumer culture, and television","year":2008,"lang":"en","type":"article","venue":"Marketing Theory","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":58,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Subaltern; Sociology; Politics; Population; Sympathy; Narrative; Media studies; Political science; Social psychology; Law; Psychology","authors":[{"name":"Rohit Varman","is_ca":false},{"name":"Russell W. Belk","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01682336313948748,"gpt":0.2121253088767832,"spread":0.1953019457372957,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008362947,0.0001578927,0.0001378509,0.001608335,0.00276852,0.007462335,0.0003810715,0.0007120649,0.004598368],"category_scores_gemma":[0.001722481,0.000144537,0.0001443538,0.001390351,0.01219625,0.005591643,0.002882937,0.001207309,0.0002225871],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001815264,"about_ca_system_score_gemma":0.0006192977,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003744679,"about_ca_topic_score_gemma":0.004487752,"domain_scores_codex":[0.999481,0.0002630578,0.00001539839,0.00005383707,0.00008146695,0.0001052471],"domain_scores_gemma":[0.9979917,0.001199009,0.0002355494,0.0001567255,0.0001569256,0.0002601377],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001529291,0.0001722187,0.07256054,0.0001572559,0.00002612621,0.002643789,0.4861898,0.0002860536,0.003310344,0.3781459,0.00227429,0.05408081],"study_design_scores_gemma":[0.00002254076,0.000144522,0.1105247,0.0002400717,0.00005577986,0.002213347,0.7076756,0.001696449,0.003345037,0.108889,0.06514093,0.00005214092],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8876051,0.0006112139,0.0009188902,0.002380922,0.0000208822,0.000008142328,0.00001902874,0.00001461439,0.1084214],"genre_scores_gemma":[0.9979413,0.0001672575,0.0001098419,0.00008385598,0.00001056162,0.000003000384,0.000004144979,0.000004884468,0.001675071],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007462335,"threshold_uncertainty_score":0.01538312,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W652469740","doi":"10.1215/9780822380986","title":"Soundtrack Available","year":2001,"lang":"en","type":"book","venue":"","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":53,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Musical; Popular music; Art history; Movie theater; Art; Ballad; Memphis; White (mutation); Queer; History; Visual arts; Literature; Sociology; Poetry; Gender studies","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.03657157900918143,"gpt":0.1939628877543222,"spread":0.1573913087451408,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004407594,0.001062243,0.0009676933,0.001440616,0.001462914,0.004956997,0.001878754,0.001794783,0.9393246],"category_scores_gemma":[0.002094927,0.0005391653,0.0006568923,0.001312346,0.0003604852,0.003007943,0.003140901,0.002204447,0.882503],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0008161079,"about_ca_system_score_gemma":0.001147827,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002845629,"about_ca_topic_score_gemma":0.0044869,"domain_scores_codex":[0.9996393,0.00003209208,0.00001720397,0.00006764199,0.0001974755,0.00004636551],"domain_scores_gemma":[0.9990188,0.0001321517,0.00002392847,0.0001311165,0.0004960528,0.0001979972],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003676587,0.00002535564,0.00004077583,0.0001232684,0.00000155093,0.00002485258,0.00003580786,0.00003035932,0.0003824694,0.0009734844,0.9398771,0.0584481],"study_design_scores_gemma":[0.00001360866,0.00001520044,0.0001933684,0.00007506347,0.000001978316,0.00003253581,0.00004842581,0.00003338796,0.0001216058,0.0004439687,0.9990141,0.000006564887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0002364875,0.0004425405,0.002359406,0.0008085748,0.002893569,0.0002788407,0.008425536,0.008819454,0.9757356],"genre_scores_gemma":[0.0008740795,0.0002971289,0.0008260219,0.0004483886,0.0004082387,0.000100302,0.003832167,0.002086964,0.9911267],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9393246,"threshold_uncertainty_score":0.08654618,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4302104233","doi":"10.2307/2672309","title":"No Aging in India: Alzheimer’s, the Bad Family, and Other Modern Things.","year":2000,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":41,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Psychology","authors":[{"name":"Barbara Miller","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01830685007963302,"gpt":0.2086726388687197,"spread":0.1903657887890867,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001026337,0.0002484254,0.0003189742,0.0006424307,0.006228392,0.004497993,0.0005366103,0.001660017,0.004565999],"category_scores_gemma":[0.00266196,0.0001776745,0.0001927809,0.001020888,0.00929458,0.004942774,0.00250614,0.00466477,0.0006295855],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002478744,"about_ca_system_score_gemma":0.00570789,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02819965,"about_ca_topic_score_gemma":0.08741836,"domain_scores_codex":[0.9993844,0.0002212942,0.00002757848,0.0000416236,0.00008937975,0.0002357384],"domain_scores_gemma":[0.998271,0.0003144857,0.0002126259,0.0001257269,0.0002168496,0.0008592966],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0003275754,0.0002366793,0.04571437,0.0008879136,0.00008481087,0.002987687,0.1367138,0.0001241263,0.0008345043,0.1786665,0.4863021,0.14712],"study_design_scores_gemma":[0.00001927276,0.00009670731,0.05974869,0.0009301005,0.00007209329,0.002171011,0.1813837,0.00004432002,0.0002924739,0.02896326,0.7262203,0.00005801606],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.09867745,0.1655506,0.0002177577,0.6054553,0.01233041,0.0000111366,0.0002367852,0.00005420938,0.1174665],"genre_scores_gemma":[0.838029,0.06888077,0.0002312548,0.05520646,0.005317674,0.00001612462,0.0001097055,0.00003597668,0.03217305],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02819965,"threshold_uncertainty_score":0.05607098,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2068196585","doi":"10.1080/13698010903255478","title":"NECROIDEALISM, OR THE SUBALTERN'S SACRIFICIAL DEATH","year":2009,"lang":"en","type":"article","venue":"Interventions","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":35,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Subaltern; Ideal (ethics); Aesthetics; Conceptualization; Sociology; Hegemony; Politics; Sacrifice; Epistemology; Philosophy; Law; Political science; Linguistics","authors":[{"name":"Victor C. Li","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1217545753909246,"gpt":0.3254599881869024,"spread":0.2037054127959778,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001013222,0.0003179623,0.0001788335,0.0004824281,0.003673308,0.00306553,0.0005184705,0.00131343,0.007481218],"category_scores_gemma":[0.001479862,0.0000947551,0.0001640936,0.0004299445,0.02188743,0.003819186,0.003421041,0.002494838,0.0005465106],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004143902,"about_ca_system_score_gemma":0.00136008,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002780475,"about_ca_topic_score_gemma":0.005084239,"domain_scores_codex":[0.9994197,0.0002645859,0.00001167094,0.00008542441,0.0001186301,0.00009996568],"domain_scores_gemma":[0.9994938,0.0002394457,0.00006684109,0.00008546758,0.00006225583,0.0000521321],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000009363889,0.00000511566,0.00007874848,0.00001060794,6.518139e-7,0.00006330842,0.004968125,0.00003559041,0.00006160977,0.9861265,0.006088532,0.002551822],"study_design_scores_gemma":[0.00001112168,0.00002701037,0.0006436736,0.000123651,0.000003863443,0.0002912809,0.009817796,0.0002414535,0.0005529936,0.5771326,0.411143,0.00001138043],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04890219,0.008176982,0.005131143,0.04153882,0.0007952095,0.0000190499,0.0000508615,0.0000809863,0.8953047],"genre_scores_gemma":[0.9165716,0.001849223,0.0004631617,0.00202361,0.0003770025,0.0000174152,0.00002049978,0.00002875743,0.07864881],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007481218,"threshold_uncertainty_score":0.03006631,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1505141008","doi":"","title":"Wicked Villagers and the Mysteries of Reproduction: An Exploration of Horror Videos from Ghana and Nigeria","year":2007,"lang":"en","type":"article","venue":"Postcolonial text","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":34,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Folklore; Movie theater; Narrative; Reproduction; Sociology; History; Media studies; Aesthetics; Art; Anthropology; Visual arts; Literature; Ecology","authors":[{"name":"Tobias Wendl","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02866435803092047,"gpt":0.249290346548877,"spread":0.2206259885179565,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008760117,0.0004654417,0.0002860462,0.00117193,0.00681106,0.002781305,0.0005333877,0.0009474476,0.00489412],"category_scores_gemma":[0.002437594,0.0002662971,0.00009964019,0.001503714,0.00509336,0.002211025,0.002555816,0.001355,0.0002687274],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001404098,"about_ca_system_score_gemma":0.0009511925,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007625564,"about_ca_topic_score_gemma":0.03982113,"domain_scores_codex":[0.9994888,0.0003285079,0.00001480211,0.00002987628,0.00004279465,0.00009517298],"domain_scores_gemma":[0.998434,0.001244332,0.0001331851,0.00003217672,0.00005233003,0.000103869],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003927153,0.00002465903,0.002446302,0.000242999,0.000002831719,0.003125834,0.9783094,0.00002733035,0.001419709,0.001961712,0.001156164,0.01124385],"study_design_scores_gemma":[0.000003505261,0.00002022495,0.004737869,0.0002722537,0.000003599504,0.000929973,0.969571,0.00002564387,0.0002808898,0.0002180056,0.02393271,0.000004343065],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9643767,0.002508964,0.0005121885,0.002176383,0.0001002743,0.00007450319,0.000101801,0.00001093495,0.03013818],"genre_scores_gemma":[0.9923334,0.002270123,0.0004122079,0.0002545951,0.00003445415,0.00003300056,0.00005203648,0.00002412244,0.004586144],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007625564,"threshold_uncertainty_score":0.01637244,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2038714095","doi":"10.1075/prag.14.2-3.12sha","title":"Reel to real","year":2015,"lang":"en","type":"article","venue":"Pragmatics Quarterly Publication of the International Pragmatics Association (IPrA)","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":31,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"York University; Spencer Foundation","keywords":"Hindi; Indexicality; Identity (music); Sociology; Narrative; Heteroglossia; Style (visual arts); Ethnography; Linguistics; Media studies; History; Anthropology; Literature; Aesthetics; Art","authors":[{"name":"Shalini Shankar","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02790493245010974,"gpt":0.2470829739241097,"spread":0.219178041474,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001435967,0.0006282773,0.0002858393,0.0009504547,0.004649444,0.009002493,0.001219208,0.001743942,0.1578971],"category_scores_gemma":[0.003989814,0.0001809406,0.0004291755,0.0006611399,0.004132388,0.007185167,0.007820756,0.003083733,0.05785362],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002505307,"about_ca_system_score_gemma":0.001814339,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002473427,"about_ca_topic_score_gemma":0.005294055,"domain_scores_codex":[0.9982674,0.0006668822,0.00005632378,0.0003207759,0.0004138729,0.0002747617],"domain_scores_gemma":[0.9987007,0.0001536127,0.0001003111,0.0003836349,0.0002874452,0.0003742706],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000893933,0.00009129909,0.001251622,0.0002873313,0.00001688474,0.0008488617,0.04004112,0.0001385657,0.001207777,0.631651,0.2280302,0.09634598],"study_design_scores_gemma":[0.000003195972,0.00001123605,0.0001926187,0.00008501571,0.000002391972,0.0001579862,0.00605434,0.00003651051,0.0001428053,0.009029496,0.9842791,0.000005182639],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.007276091,0.001100052,0.003481158,0.008971751,0.001989986,0.00006327237,0.0002306955,0.000306556,0.9765804],"genre_scores_gemma":[0.1831665,0.00163666,0.003410867,0.005599142,0.0006553467,0.000125145,0.0005184812,0.0005025916,0.8043852],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1578971,"threshold_uncertainty_score":0.5282183,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1569625956","doi":"","title":"Translating Minoritized Cultures: Issues of Caste, Class and Gender","year":2006,"lang":"en","type":"article","venue":"Postcolonial text","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":31,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Caste; Class (philosophy); Gender studies; Sociology; South asia; Political science; Anthropology; Epistemology; Law; Philosophy","authors":[{"name":"Barbara Godard","is_ca":true},{"name":"Arun P. Mukjerjee","is_ca":true},{"name":"Alok Mukherjee","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02328807774596671,"gpt":0.2602083280647407,"spread":0.236920250318774,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00435686,0.0006550883,0.0004251654,0.000951207,0.01061,0.007598099,0.0008745727,0.001095249,0.004827398],"category_scores_gemma":[0.008461623,0.0002568073,0.0001851982,0.00136092,0.008427234,0.003112121,0.005090889,0.005500305,0.0006562631],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006094239,"about_ca_system_score_gemma":0.005243521,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01051218,"about_ca_topic_score_gemma":0.0245416,"domain_scores_codex":[0.9977308,0.001336672,0.0001390509,0.0001260165,0.0003979107,0.0002695815],"domain_scores_gemma":[0.9958385,0.002763056,0.0002950006,0.0002348046,0.0006206753,0.0002479548],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003127712,0.00001616868,0.0004530719,0.0001628992,0.000003425311,0.0005268362,0.9145395,0.00003780878,0.00106305,0.06421436,0.004890025,0.01406156],"study_design_scores_gemma":[0.000006984694,0.00003084705,0.00151993,0.0004663649,0.000009751065,0.0003037961,0.7134213,0.0001446955,0.002575808,0.006495049,0.2750025,0.0000229217],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5025411,0.007839902,0.008283169,0.09198277,0.004536567,0.0001731248,0.0003109981,0.0001358837,0.3841966],"genre_scores_gemma":[0.9618494,0.002763374,0.001698083,0.002308482,0.0002253436,0.0000693361,0.00005702182,0.0001558008,0.03087314],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01061,"threshold_uncertainty_score":0.04421693,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W572871391","doi":"10.4135/9788132113966","title":"The Magic of Bollywood: At Home and Abroad","year":2012,"lang":"en","type":"book","venue":"","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); Art; History; Geography; Astronomy; Physics","authors":[{"name":"Anjali Roy","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01331650336039219,"gpt":0.1999429202852696,"spread":0.1866264169248774,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007759243,0.0005846987,0.0003525406,0.001016118,0.006336982,0.01043018,0.0006948354,0.001689875,0.07007954],"category_scores_gemma":[0.00161701,0.0002362964,0.0002040202,0.001918361,0.00309582,0.007439811,0.004292337,0.00433713,0.00891651],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002282864,"about_ca_system_score_gemma":0.001180176,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006489825,"about_ca_topic_score_gemma":0.01329683,"domain_scores_codex":[0.9995331,0.0001173371,0.00001459977,0.0000624666,0.0001432438,0.0001292594],"domain_scores_gemma":[0.9993424,0.0001943765,0.00004554469,0.00006055198,0.0001208527,0.0002363987],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000132321,0.00009921479,0.001288777,0.0004652968,0.00001110513,0.0007058349,0.05966,0.00002363993,0.001213711,0.1206706,0.6941023,0.1216271],"study_design_scores_gemma":[0.000002330144,0.000009091642,0.0008146945,0.000155913,0.000002771182,0.0001312034,0.01751964,0.000005305152,0.0001059868,0.000708824,0.9805398,0.000004543799],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01692206,0.0790838,0.0003101348,0.07747741,0.0149226,0.0000356751,0.0002973411,0.0001904361,0.8107605],"genre_scores_gemma":[0.1692873,0.03589092,0.0005530586,0.01225817,0.006430796,0.00003498224,0.0002403587,0.0004775898,0.7748268],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.07007954,"threshold_uncertainty_score":0.2344394,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385598855","doi":"10.59962/9780774860970","title":"Men, Masculinity, and the Indian Act","year":2019,"lang":"en","type":"book","venue":"University of British Columbia Press eBooks","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Masculinity; Gender studies; Psychology; Sociology","authors":[{"name":"Martin J. Cannon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01185087565159399,"gpt":0.1573560612036773,"spread":0.1455051855520833,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003475929,0.0004133506,0.0001568984,0.0007329499,0.008377818,0.003692513,0.0004573268,0.0008884795,0.01047225],"category_scores_gemma":[0.0005216067,0.0001983572,0.0001166939,0.0009265746,0.008802114,0.001187929,0.001430828,0.002059177,0.002091959],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00871643,"about_ca_system_score_gemma":0.01107866,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3450396,"about_ca_topic_score_gemma":0.5659818,"domain_scores_codex":[0.9996018,0.00009803675,0.000005821893,0.00002730935,0.0001600097,0.0001069696],"domain_scores_gemma":[0.9998364,0.00004556477,0.00001242589,0.00001242512,0.00004316534,0.0000500038],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001030299,0.00001942419,0.0004051892,0.0000505604,0.000002171002,0.0001375078,0.01446568,0.00006516903,0.0001085717,0.7662733,0.1943735,0.02408866],"study_design_scores_gemma":[0.00000157296,0.000003049541,0.001011858,0.0001214907,0.000001817524,0.00004577164,0.003658227,0.00002587857,0.00006308088,0.008906171,0.9861572,0.000004058379],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00236972,0.03279424,0.00009720735,0.008669779,0.0005457747,0.00001317786,0.0000279666,0.00001643481,0.9554656],"genre_scores_gemma":[0.08508494,0.01792495,0.0002133041,0.005260646,0.0003296697,0.00003647369,0.00004205413,0.00003090789,0.8910769],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3450396,"threshold_uncertainty_score":0.6860625,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2078711827","doi":"10.3138/md.s84r.1","title":"Rethinking Postcolonial Melodrama and Affect","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Modernity; Temporality; Teleology; Aesthetics; Nationalism; Periodization; History; Literature; Sociology; Philosophy; Art; Epistemology; Political science; Law; Politics","authors":[{"name":"Sheetal Majithia","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04065078063548649,"gpt":0.2420329799757266,"spread":0.2013821993402401,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001027083,0.0002742781,0.0001826649,0.0006950218,0.003565056,0.005168778,0.0004905019,0.0008036646,0.004225628],"category_scores_gemma":[0.001959885,0.0001237396,0.0001233599,0.0005964854,0.01224422,0.003535421,0.003814162,0.002066655,0.000337621],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001966802,"about_ca_system_score_gemma":0.0005266402,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0027358,"about_ca_topic_score_gemma":0.005619378,"domain_scores_codex":[0.9993499,0.0003860359,0.00001265068,0.00006805101,0.00009950958,0.00008395824],"domain_scores_gemma":[0.9992383,0.0004531862,0.00008016341,0.00008427149,0.00007927317,0.00006492228],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001270468,0.00004754198,0.003158702,0.0002252512,0.00001952265,0.0009032062,0.6086259,0.00008907145,0.003897312,0.3424059,0.006072283,0.03442828],"study_design_scores_gemma":[0.00002634058,0.0001076,0.01828742,0.0005247487,0.00002951032,0.001048662,0.3474836,0.0003556086,0.003104619,0.03400631,0.5949839,0.00004172089],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4190199,0.007109904,0.003816119,0.01371032,0.0008237779,0.00002593595,0.00008661227,0.00005859082,0.5553488],"genre_scores_gemma":[0.9909813,0.0007686884,0.0002380048,0.0003853893,0.00008294878,0.00000734902,0.00001119064,0.0000218005,0.007503357],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.005168778,"threshold_uncertainty_score":0.01427025,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1545693715","doi":"10.22230/cjc.2006v31n1a1778","title":"More than Just an Arts Festival: Communities, Resistance, and the Story of Desh Pardesh","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Mainstream; The arts; Resistance (ecology); Sociology; Media studies; Colonialism; Gender studies; Political science; Law","authors":[{"name":"Sharon Fernandez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03292400094720845,"gpt":0.2264205011835332,"spread":0.1934965002363247,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002352384,0.0006923969,0.0005240561,0.0007819687,0.03762075,0.006263399,0.00143598,0.003132089,0.004007196],"category_scores_gemma":[0.002807511,0.000569918,0.0003290692,0.0009936208,0.01955694,0.004394337,0.006584486,0.007336094,0.0004387993],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00743285,"about_ca_system_score_gemma":0.003602569,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.07461578,"about_ca_topic_score_gemma":0.1468883,"domain_scores_codex":[0.9967925,0.002111728,0.0000277342,0.0001643815,0.0002773164,0.0006263492],"domain_scores_gemma":[0.9978781,0.0009008436,0.0001815511,0.00007517207,0.000133699,0.0008306562],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002573729,0.00002090183,0.0005747045,0.00005181371,0.000005725573,0.001672801,0.9764534,0.00002913259,0.000329575,0.009128746,0.009520724,0.002186638],"study_design_scores_gemma":[0.000004418501,0.00002775279,0.001328225,0.00007146846,0.000004320396,0.0006326627,0.8985356,0.00003366566,0.0001486105,0.0005370945,0.09866454,0.00001164695],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7903289,0.006306371,0.0006761733,0.06929085,0.001142206,0.00006957222,0.0001319799,0.00004963276,0.1320044],"genre_scores_gemma":[0.9741421,0.001629029,0.0002061018,0.003950707,0.0002118275,0.00004087384,0.00002373639,0.00003355473,0.01976201],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9253842,"threshold_uncertainty_score":0.1483629,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W581396908","doi":"10.5206/tjr.2015.1.3.2","title":"Representing Reconciliation","year":2015,"lang":"en","type":"article","venue":"Transitional justice review","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Print media; Frame (networking); Frame analysis; Advertising; News media; Media studies; Geography; Political science; Computer science; Sociology; Content analysis; Newspaper; Telecommunications; Business; Social science","authors":[{"name":"Rosemary Nagy","is_ca":false},{"name":"Emily L. Gillespie","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1513825475940775,"gpt":0.2963858517884994,"spread":0.1450033041944218,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01978577,0.0006194737,0.0007631014,0.002467392,0.008705868,0.01582345,0.002457481,0.006249726,0.01895322],"category_scores_gemma":[0.02388642,0.0003139048,0.0006555117,0.003218641,0.01562667,0.01088472,0.009337765,0.008809585,0.002643069],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006954888,"about_ca_system_score_gemma":0.02311756,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006059848,"about_ca_topic_score_gemma":0.01132955,"domain_scores_codex":[0.9814119,0.01168333,0.0008609183,0.00115045,0.002862577,0.002030786],"domain_scores_gemma":[0.9906619,0.00393192,0.0006157125,0.0017279,0.002364843,0.0006976434],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002517339,0.0000217544,0.0001438426,0.0004446382,0.00002420347,0.00006676072,0.00716179,0.00009539595,0.00008522369,0.8387508,0.08993194,0.06324849],"study_design_scores_gemma":[0.00001490998,0.00003332518,0.0004472262,0.002010004,0.00004052192,0.0001087539,0.009791289,0.0001036872,0.0003404764,0.1305424,0.8565503,0.00001711585],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00977363,0.1357339,0.005953137,0.1605982,0.009724452,0.000164054,0.0001235729,0.0001367063,0.6777923],"genre_scores_gemma":[0.644931,0.09273461,0.005756918,0.07449465,0.004825942,0.0004566659,0.0004057768,0.0002397179,0.1761547],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01978577,"threshold_uncertainty_score":0.1046385,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2331768509","doi":"10.2307/4127268","title":"Television and Social Change in Rural India. By Kirk Johnson London: Sage Publications, Inc. 2000. 247 pp. (b&amp;w photos, charts.) Us$51.95, cloth. Isbn 0-7619-9421-1.","year":2002,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Social change; Geography; Socioeconomics; Sociology; Political science; Economic growth; Economics","authors":[{"name":"Stephen D. McDowell","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02422147580605625,"gpt":0.2194161247264936,"spread":0.1951946489204374,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004741887,0.001136283,0.0006184204,0.002444487,0.001514761,0.004216291,0.0009356955,0.001670432,0.02410761],"category_scores_gemma":[0.001094365,0.0008095607,0.0003446098,0.00577574,0.003139705,0.003528279,0.001561442,0.00193878,0.00469024],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003259723,"about_ca_system_score_gemma":0.003402601,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0664157,"about_ca_topic_score_gemma":0.1220898,"domain_scores_codex":[0.9996758,0.0000865152,0.00002097765,0.00004042114,0.00008104882,0.00009526261],"domain_scores_gemma":[0.9994894,0.0002036668,0.00008473783,0.00002530553,0.00006846178,0.0001283387],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001036057,0.00009261815,0.004076089,0.003526052,0.00006372925,0.0004578826,0.009270935,0.0005808501,0.0005685579,0.02314083,0.5999871,0.3581317],"study_design_scores_gemma":[0.00001764637,0.00006244664,0.02807706,0.003763934,0.00006623262,0.0009739805,0.01250461,0.0001780463,0.000251362,0.01074828,0.9433058,0.00005063463],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.003037624,0.9273553,0.0002584429,0.01900304,0.001392242,0.00001681496,0.0004823379,0.0001185442,0.04833556],"genre_scores_gemma":[0.09823384,0.7792615,0.000713026,0.002752738,0.00116335,0.00006218812,0.0005660517,0.0000992128,0.1171481],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.0664157,"threshold_uncertainty_score":0.1320582,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2005434275","doi":"10.1080/01436591003701117","title":"A Million Dollar Exit from the Anarchic Slum-world:<i>Slumdog Millionaire</i>'s hollow idioms of social justice","year":2010,"lang":"en","type":"article","venue":"Third World Quarterly","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Slum; Credibility; Poverty; Power (physics); Dignity; Sociology; Economic Justice; Political science; Media studies; Law","authors":[{"name":"Mitu Sengupta","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01394415678034024,"gpt":0.2271735417880706,"spread":0.2132293850077303,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006520816,0.0002248156,0.0001276711,0.0002570444,0.005918389,0.00651033,0.0003061841,0.0009786376,0.004300293],"category_scores_gemma":[0.0009274777,0.0001003189,0.00009600788,0.0003303441,0.009861108,0.00270349,0.003543522,0.003075636,0.0002841428],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001962066,"about_ca_system_score_gemma":0.001189708,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008177299,"about_ca_topic_score_gemma":0.02870331,"domain_scores_codex":[0.9996858,0.000167458,0.000005164413,0.00001967278,0.00003934977,0.00008263739],"domain_scores_gemma":[0.999679,0.0001308623,0.00003671939,0.00002618963,0.00002556315,0.0001017039],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00006023731,0.00002527971,0.001582285,0.0001165758,0.00000754978,0.0008200611,0.4529679,0.00007907127,0.001258128,0.4798707,0.04712888,0.01608334],"study_design_scores_gemma":[0.000008887375,0.00003826744,0.002660231,0.0001693806,0.00001033815,0.0004525387,0.2676517,0.0001375575,0.0007832972,0.0186409,0.70943,0.00001688911],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3559847,0.003768233,0.001665103,0.09260602,0.001549811,0.00001995506,0.00007496643,0.00007862613,0.5442525],"genre_scores_gemma":[0.9542202,0.001092416,0.0002974764,0.004242078,0.0001559875,0.0000110585,0.00001333072,0.00004666931,0.03992091],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008177299,"threshold_uncertainty_score":0.01625943,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2969450682","doi":"10.1177/1527476419869128","title":"Millennial Turbulence: The Networking of Tamil Media Politics","year":2019,"lang":"en","type":"article","venue":"Television & New Media","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Tamil; Populism; Politics; Publicity; Media studies; Mass media; Social media; Plot (graphics); Democracy; Sociology; Movie theater; Disinformation; Political science; Advertising; History; Law; Art; Business","authors":[{"name":"Francis Cody","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02500274851357718,"gpt":0.2158050114964649,"spread":0.1908022629828877,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001405236,0.0003154931,0.0001383126,0.001769162,0.006942668,0.01058537,0.0006563491,0.001112641,0.01038357],"category_scores_gemma":[0.003109789,0.0002526951,0.0001650252,0.00128301,0.005615931,0.007344043,0.006943463,0.002244102,0.0008837286],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002463032,"about_ca_system_score_gemma":0.001478871,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003212017,"about_ca_topic_score_gemma":0.005497064,"domain_scores_codex":[0.9992673,0.0003589948,0.00001817653,0.00007520396,0.00005908746,0.0002211683],"domain_scores_gemma":[0.9981683,0.0006334991,0.0003733143,0.000126318,0.0001159649,0.000582501],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000140891,0.00006016867,0.03547808,0.0002939515,0.00004473608,0.003847638,0.5163639,0.0002456579,0.001426363,0.3554845,0.02408397,0.06253017],"study_design_scores_gemma":[0.00001721467,0.0001063052,0.02298802,0.0005282552,0.00004360796,0.001122928,0.4744184,0.0007134419,0.0007281091,0.02745223,0.4718249,0.00005655605],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5877455,0.005001823,0.002113746,0.03305056,0.0008400229,0.00005591089,0.0001689057,0.0001379001,0.3708856],"genre_scores_gemma":[0.992394,0.000841538,0.0001490565,0.0009165254,0.0001244022,0.00001564775,0.00002563519,0.00002406743,0.005509126],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01058537,"threshold_uncertainty_score":0.03473651,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3142171296","doi":"10.1386/safm.1.1.85_1","title":"Nationalism and Hindi Cinema: Narrative Strategies in Fanaa","year":2009,"lang":"en","type":"article","venue":"Studies in South Asian Film & Media","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"Academy of Finland","keywords":"Movie theater; Hindi; Nationalism; Narrative; Citizenship; Politics; Gender studies; Media studies; Sociology; Aesthetics; Political science; Literature; Art; Law; Linguistics","authors":[{"name":"Shahnaz Khan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0379538566313489,"gpt":0.2889455482883651,"spread":0.2509916916570162,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001659445,0.0004939003,0.0002276358,0.001359276,0.01429357,0.007983707,0.000841099,0.001094182,0.005943813],"category_scores_gemma":[0.00260481,0.0002576193,0.0001977376,0.0008039388,0.008703387,0.004068381,0.003960887,0.002090633,0.0004329686],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003004506,"about_ca_system_score_gemma":0.001502466,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008314607,"about_ca_topic_score_gemma":0.01735738,"domain_scores_codex":[0.9988191,0.0008066415,0.00002373444,0.00007426245,0.00008239608,0.0001939819],"domain_scores_gemma":[0.9983536,0.0009240778,0.0001323098,0.00005362158,0.0001746,0.0003618326],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002734637,0.00002902214,0.001717486,0.00008423815,0.000004305889,0.0004684356,0.9172168,0.00003106082,0.0007306752,0.06928252,0.002014011,0.008394155],"study_design_scores_gemma":[0.00000738714,0.00004717444,0.004012647,0.0002389261,0.00001225794,0.001069214,0.8298576,0.0003017278,0.0006742082,0.005790409,0.1579667,0.00002175608],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5408264,0.002612821,0.003252624,0.006104624,0.000327663,0.00008424967,0.00007045744,0.00007903014,0.4466422],"genre_scores_gemma":[0.985911,0.0003037824,0.0006134066,0.0002186617,0.0000340617,0.00002332823,0.0000218419,0.00002355208,0.01285039],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01429357,"threshold_uncertainty_score":0.02179933,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2052474432","doi":"10.1386/safm.1.1.85/1","title":"Nationalism and Hindi Cinema: Narrative Strategies in Fanaa","year":2009,"lang":"en","type":"article","venue":"Studies in South Asian Film & Media","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"Academy of Finland","keywords":"Movie theater; Hindi; Nationalism; Narrative; Citizenship; Politics; Gender studies; Media studies; Sociology; Aesthetics; Political science; Literature; Art; Law; Linguistics","authors":[{"name":"Хан","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0379538566313489,"gpt":0.2889455482883651,"spread":0.2509916916570162,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001659445,0.0004939003,0.0002276358,0.001359276,0.01429357,0.007983707,0.000841099,0.001094182,0.005943813],"category_scores_gemma":[0.00260481,0.0002576193,0.0001977376,0.0008039388,0.008703387,0.004068381,0.003960887,0.002090633,0.0004329686],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003004506,"about_ca_system_score_gemma":0.001502466,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008314607,"about_ca_topic_score_gemma":0.01735738,"domain_scores_codex":[0.9988191,0.0008066415,0.00002373444,0.00007426245,0.00008239608,0.0001939819],"domain_scores_gemma":[0.9983536,0.0009240778,0.0001323098,0.00005362158,0.0001746,0.0003618326],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002734637,0.00002902214,0.001717486,0.00008423815,0.000004305889,0.0004684356,0.9172168,0.00003106082,0.0007306752,0.06928252,0.002014011,0.008394155],"study_design_scores_gemma":[0.00000738714,0.00004717444,0.004012647,0.0002389261,0.00001225794,0.001069214,0.8298576,0.0003017278,0.0006742082,0.005790409,0.1579667,0.00002175608],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5408264,0.002612821,0.003252624,0.006104624,0.000327663,0.00008424967,0.00007045744,0.00007903014,0.4466422],"genre_scores_gemma":[0.985911,0.0003037824,0.0006134066,0.0002186617,0.0000340617,0.00002332823,0.0000218419,0.00002355208,0.01285039],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01429357,"threshold_uncertainty_score":0.02179933,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4386560777","doi":"10.1177/13678779231197696","title":"Streaming and India's film-centred video culture: Linguistic and formal diversity","year":2023,"lang":"en","type":"article","venue":"International Journal of Cultural Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Timeline; Movie theater; Diversity (politics); The Internet; Media studies; Creative industries; Sociology; Advertising; Political science; Business; History; Visual arts; World Wide Web; Computer science; Art; Law","authors":[{"name":"Ishita Tiwary","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04808729938867885,"gpt":0.2795253480195035,"spread":0.2314380486308247,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007050907,0.0001375056,0.0001022252,0.001076853,0.003390657,0.004827634,0.0006067592,0.0002574886,0.002320623],"category_scores_gemma":[0.002446837,0.0001045506,0.00008249575,0.001761153,0.005548199,0.001469679,0.002740407,0.001239745,0.0001000196],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002435994,"about_ca_system_score_gemma":0.001404071,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0124332,"about_ca_topic_score_gemma":0.01328536,"domain_scores_codex":[0.9994121,0.0002177845,0.00003650211,0.00005466161,0.0001318497,0.0001471693],"domain_scores_gemma":[0.9985922,0.0007341598,0.0002350626,0.000118156,0.0001447469,0.0001756142],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.00009563178,0.00005574807,0.02000837,0.0002158341,0.00001320031,0.001106997,0.7327312,0.0001845571,0.005721627,0.1884298,0.001635643,0.04980141],"study_design_scores_gemma":[0.00001152381,0.000195182,0.1150364,0.0004057177,0.0000414915,0.002745412,0.7528312,0.0005601476,0.002388201,0.01585096,0.1098614,0.00007251921],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8538547,0.0007577804,0.0007562283,0.001838709,0.00005572901,0.00002218018,0.00005316082,0.00002151265,0.14264],"genre_scores_gemma":[0.9979264,0.0002819209,0.0001431269,0.00007323829,0.00001894059,0.000004354848,0.00001379313,0.000006280389,0.001532004],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0124332,"threshold_uncertainty_score":0.02472168,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W568649172","doi":"","title":"SHIFTING CONTINENTS/COLLIDING CULTURES. Diaspora Writing of the Indian Subcontinent.","year":2000,"lang":"en","type":"book","venue":"eCite Digital Repository (University of Tasmania)","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Diaspora; Identity (music); Multiculturalism; Gender studies; History; Postcolonial literature; Ceylon; Geography; Genealogy; Colonialism; Media studies; Political science; Sociology; Aesthetics; Ancient history; Art; Law; Archaeology","authors":[{"name":"RJ Crane","is_ca":false},{"name":"Radhika Mohanram","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008943120009553064,"gpt":0.1623288751261309,"spread":0.1533857551165778,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002052426,0.0006655577,0.0002878914,0.00235645,0.01587609,0.01078327,0.0009616105,0.001289735,0.003649094],"category_scores_gemma":[0.005616206,0.0002490869,0.0002133812,0.003019716,0.0121509,0.004226435,0.00704151,0.002735391,0.0008760034],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003570216,"about_ca_system_score_gemma":0.0047976,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01181402,"about_ca_topic_score_gemma":0.02610371,"domain_scores_codex":[0.9976715,0.001427785,0.0001092395,0.0001944272,0.0003537538,0.0002431864],"domain_scores_gemma":[0.9964492,0.001835859,0.0003832923,0.0002533466,0.0004070376,0.0006711516],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002440457,0.00002269523,0.001325444,0.0002427494,0.000005784218,0.0010056,0.8576649,0.00004304975,0.0003542312,0.08683436,0.02354198,0.02893475],"study_design_scores_gemma":[0.000005170672,0.00002308459,0.003090018,0.0005282872,0.00000841304,0.0007689752,0.5170883,0.00006043252,0.0002852902,0.00753436,0.4705904,0.00001723296],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2009048,0.06674092,0.001605316,0.04098004,0.008503078,0.0001414004,0.0001434315,0.0001336899,0.6808474],"genre_scores_gemma":[0.8928429,0.02103443,0.001037455,0.005703204,0.001280522,0.0001223867,0.00006951696,0.0001211292,0.07778862],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01587609,"threshold_uncertainty_score":0.02590382,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4213290014","doi":"10.1017/s0026749x21000573","title":"Constructing a caste in the past: Revisionist histories and competitive authority in South India","year":2022,"lang":"en","type":"article","venue":"Modern Asian Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Fulbright Association; Social Sciences and Humanities Research Council of Canada; Wenner-Gren Foundation","keywords":"Caste; Civility; Politics; Agrarian society; Tamil; Appeal; Honour; Political science; Opposition (politics); Colonialism; Political economy; Sociology; Genealogy; Gender studies; History; Ethnology; Law","authors":[{"name":"Tori Gross","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03942254104501797,"gpt":0.2536504227141013,"spread":0.2142278816690834,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002467525,0.0002660248,0.000369459,0.003824219,0.01974181,0.01246143,0.001585148,0.001134275,0.003457576],"category_scores_gemma":[0.004100535,0.0003668093,0.0001951984,0.003058046,0.02768854,0.002954259,0.006458259,0.003525356,0.000338674],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01137365,"about_ca_system_score_gemma":0.00468123,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03661075,"about_ca_topic_score_gemma":0.06528951,"domain_scores_codex":[0.9970631,0.001042551,0.00009160643,0.0002397448,0.0005698982,0.0009929987],"domain_scores_gemma":[0.9957994,0.002173575,0.0005619919,0.000405003,0.0004322179,0.0006278172],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005132859,0.00005632109,0.007330797,0.00004930384,0.000009564686,0.001331808,0.7996358,0.0001968756,0.0005966451,0.1811726,0.000616934,0.008952088],"study_design_scores_gemma":[0.00002564561,0.0001814647,0.03531082,0.0002660129,0.00003759805,0.001723776,0.7047135,0.001207254,0.001325271,0.03682182,0.2182374,0.0001495126],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8870217,0.0009709554,0.0003977933,0.002258464,0.00004100003,0.0000227781,0.0000293217,0.00002084682,0.1092371],"genre_scores_gemma":[0.9980705,0.00009578066,0.0000332024,0.00003397137,0.000008188131,0.000002444747,0.000004955839,0.000004225767,0.001746616],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03661075,"threshold_uncertainty_score":0.08252203,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1597100485","doi":"10.1111/anti.12103","title":"Sentimental Capitalism in Contemporary India: Art, Heritage, and Development in Ahmedabad, Gujarat","year":2014,"lang":"en","type":"article","venue":"Antipode","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Capitalism; Grassroots; Sociology; Politics; Gentrification; Exchange value; Political economy; Aesthetics; Political science; Law; Economic growth; Economics; Neoclassical economics; Art","authors":[{"name":"Dia Da Costa","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02368217073450887,"gpt":0.2169465872926621,"spread":0.1932644165581532,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005580455,0.0002951605,0.0001818523,0.001877382,0.007755236,0.006573731,0.0006077787,0.0005655072,0.004113997],"category_scores_gemma":[0.0005048357,0.0002562863,0.0001638922,0.002733512,0.008921113,0.001099802,0.003481599,0.001381033,0.0001816538],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005965866,"about_ca_system_score_gemma":0.002670347,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05864859,"about_ca_topic_score_gemma":0.1303488,"domain_scores_codex":[0.9994622,0.0001320176,0.00001741183,0.00003741454,0.0000722632,0.0002787032],"domain_scores_gemma":[0.9993688,0.0002554018,0.0001482913,0.00003549257,0.00005044842,0.0001415672],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00009967749,0.000113388,0.05992285,0.0003180976,0.0000251959,0.003654267,0.8519749,0.0002570529,0.003912582,0.05226296,0.00404043,0.02341858],"study_design_scores_gemma":[0.000005714766,0.00005679703,0.154443,0.0001619794,0.00002387882,0.001101931,0.7919039,0.0001658633,0.0005333733,0.001379832,0.05018635,0.00003736934],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9649166,0.0005709762,0.00008357778,0.001718106,0.00003120097,0.000009382007,0.00004098061,0.000009768544,0.03261935],"genre_scores_gemma":[0.9984737,0.0002089748,0.0000353229,0.00008801117,0.00000984682,0.000002905822,0.000008124777,0.000002889253,0.001170211],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05864859,"threshold_uncertainty_score":0.1166144,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3108192121","doi":"10.1080/14680777.2020.1850501","title":"Perception of sexual violence in Tamil movies by Malaysian Indian viewers","year":2020,"lang":"en","type":"article","venue":"Feminist Media Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Thompson Rivers University","funders":"Universiti Sains Malaysia","keywords":"Tamil; Sexual violence; Psychology; Courtship; Comedy; Femininity; Perception; Mythology; Gender studies; Social psychology; Criminology; Sociology; Literature; Art; Psychoanalysis","authors":[{"name":"Premalatha Karupiah","is_ca":false},{"name":"Sundramoorthy Pathmanathan","is_ca":false},{"name":"Bala Raju Nikku","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03818208450468968,"gpt":0.2543372119651787,"spread":0.216155127460489,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004580978,0.0002938664,0.0001977376,0.0005287495,0.001033509,0.001962247,0.0001732621,0.0003779356,0.003266032],"category_scores_gemma":[0.001947914,0.0001902904,0.0001736077,0.0003262099,0.0007013024,0.0008483148,0.000688488,0.0006405471,0.0002550507],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004564956,"about_ca_system_score_gemma":0.0001662119,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00582858,"about_ca_topic_score_gemma":0.007634641,"domain_scores_codex":[0.9996996,0.0001611459,0.00001329922,0.00002210892,0.00005305952,0.00005075737],"domain_scores_gemma":[0.9992557,0.0003059259,0.0002233474,0.00002686547,0.0000868647,0.0001013425],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000238261,0.0001043006,0.1842992,0.0004319128,0.00005281825,0.001695652,0.7795915,0.00008211291,0.009973845,0.0008586021,0.00119755,0.02147422],"study_design_scores_gemma":[0.00000666741,0.0003002785,0.2174141,0.0002847954,0.00006964969,0.002188571,0.7661934,0.0001824156,0.001218545,0.00008867907,0.01201359,0.00003914837],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9953254,0.0003240132,0.00004904732,0.0001423216,0.00001237188,0.000006510328,0.00004125125,0.000003468432,0.004095655],"genre_scores_gemma":[0.9985696,0.0003662525,0.00005143863,0.00007253262,0.00001088656,0.000003842413,0.00002187159,0.000003998527,0.0008995974],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00582858,"threshold_uncertainty_score":0.01158935,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W243074162","doi":"10.3138/cjfs.17.2.35","title":"Deepa Mehta’s Film Water: The Power of the Dialectical Image","year":2008,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Subversion; Sociology; Political science; Politics","authors":[{"name":"Tutun Mukherjee","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02996583615223079,"gpt":0.2259624086488955,"spread":0.1959965724966647,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001463743,0.0003383455,0.0002338083,0.0007626059,0.006437102,0.005385946,0.0007450752,0.001497166,0.006048585],"category_scores_gemma":[0.00487138,0.000288172,0.0002067163,0.0008093787,0.0168851,0.008552802,0.004720461,0.004112998,0.0005650325],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004008111,"about_ca_system_score_gemma":0.002244275,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008544662,"about_ca_topic_score_gemma":0.0178989,"domain_scores_codex":[0.9978265,0.00148464,0.00002881099,0.0001703938,0.0003181924,0.000171435],"domain_scores_gemma":[0.9980236,0.001415489,0.0001228086,0.0001079613,0.0001777887,0.0001524661],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003726464,0.00001979144,0.0003932476,0.0001780185,0.000005835655,0.0002704046,0.1992313,0.00006581694,0.0009143142,0.7489541,0.02559839,0.02433147],"study_design_scores_gemma":[0.00001817284,0.00004207743,0.001197976,0.000395058,0.00001317048,0.0003256974,0.1129704,0.0003531819,0.001549789,0.1274548,0.7556486,0.00003113823],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1063203,0.01907289,0.02068545,0.1160119,0.002278092,0.0001532293,0.0001328746,0.0000915394,0.7352537],"genre_scores_gemma":[0.8660771,0.007685202,0.005908538,0.007685372,0.0004745857,0.0001986982,0.00003314775,0.000140617,0.1117967],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008544662,"threshold_uncertainty_score":0.02908105,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W632979102","doi":"","title":"Diamond dust : and other stories","year":2001,"lang":"en","type":"book","venue":"Vintage eBooks","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Disappointment; Nothing; Hospitality; Friendship; Media studies; Sociology; Art; History; Tourism; Archaeology; Social science; Psychology; Philosophy; Social psychology","authors":[{"name":"Anita Desai","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0261528694762253,"gpt":0.2135642778190233,"spread":0.187411408342798,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004668403,0.0007022253,0.0003588923,0.001218923,0.007929561,0.009502928,0.001208505,0.001845039,0.1135953],"category_scores_gemma":[0.001922,0.00025909,0.0002657738,0.001809881,0.002802631,0.005736596,0.00475116,0.00288457,0.02053793],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002451013,"about_ca_system_score_gemma":0.001244765,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008568083,"about_ca_topic_score_gemma":0.02425876,"domain_scores_codex":[0.9993318,0.0002137118,0.000009789112,0.00006244354,0.0002273506,0.0001550167],"domain_scores_gemma":[0.9994404,0.0001760115,0.0000288104,0.00005924876,0.00007933171,0.0002161627],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002672349,0.00004449569,0.0002915921,0.00009557762,0.000002674912,0.0008354755,0.04300623,0.00002589892,0.0001521211,0.05731468,0.8534896,0.04471489],"study_design_scores_gemma":[0.000001482481,0.000002100457,0.00008695504,0.00004306816,5.521567e-7,0.0002134376,0.01386916,0.000006161001,0.00002168263,0.001163201,0.9845898,0.000002464329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.004392812,0.004254817,0.0003371428,0.005959541,0.001476518,0.00002717349,0.0001826657,0.0001359018,0.9832334],"genre_scores_gemma":[0.04861085,0.002546677,0.0002861092,0.002527571,0.0003126393,0.00004341756,0.0002482628,0.0001782786,0.9452462],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1135953,"threshold_uncertainty_score":0.3800141,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2332548378","doi":"10.1177/0893318915620456","title":"Forum Introduction","year":2015,"lang":"en","type":"article","venue":"Management Communication Quarterly","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Latin Americans; Organizational communication; Political science; Public relations; Psychology","authors":[{"name":"Consuelo Vásquez","is_ca":true},{"name":"Lissette Marroquín Velásquez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0259123290580683,"gpt":0.2216108532689114,"spread":0.1956985242108431,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00167368,0.0009646041,0.000628003,0.001736163,0.002815642,0.006945768,0.001451675,0.004213869,0.7980154],"category_scores_gemma":[0.004895679,0.000330256,0.0007779166,0.0009366852,0.0006202795,0.003578495,0.004595735,0.003400632,0.601415],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001249032,"about_ca_system_score_gemma":0.001962657,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001221619,"about_ca_topic_score_gemma":0.002685599,"domain_scores_codex":[0.9988953,0.0001722601,0.00003370029,0.0001750947,0.0005022043,0.0002214956],"domain_scores_gemma":[0.9967513,0.0003640488,0.0001173857,0.0002598486,0.001057827,0.001449509],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002790236,0.00001911623,0.00004420408,0.00005826781,6.120477e-7,0.0000255678,0.00004042546,0.00001410774,0.0001448441,0.002674453,0.9771295,0.0198211],"study_design_scores_gemma":[0.000006236349,0.000008727619,0.000106396,0.00003528522,4.926947e-7,0.000009589236,0.00005485457,0.00001159845,0.00003093428,0.0007546616,0.9989786,0.000002671582],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"editorial","genre_scores_codex":[0.0006059192,0.001284118,0.001603133,0.01827701,0.105703,0.0003861903,0.00412167,0.00156362,0.8664553],"genre_scores_gemma":[0.002278968,0.0003700739,0.0003343677,0.003979411,0.01274082,0.0001832196,0.001325516,0.0002996609,0.978488],"genre_candidate":"editorial","genre_consensus":null,"teacher_disagreement_score":0.2019846,"threshold_uncertainty_score":0.2881066,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2464589461","doi":"10.1353/ari.2016.0003","title":"Subaltern Experimental Writing: Dalit Literature in Dialogue with the World","year":2016,"lang":"en","type":"article","venue":"Ariel","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Arts and Humanities Research Council; Trent University; Nottingham Trent University","keywords":"Caste; Subaltern; Narrative; Hinduism; Literature; Sociology; Relation (database); World literature; History; Aesthetics; Gender studies; Linguistics; Art; Philosophy; Political science; Law; Computer science","authors":[{"name":"Nicole Weickgenannt Thiara","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01611385753952456,"gpt":0.2191379249057883,"spread":0.2030240673662638,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003643237,0.0005990755,0.0003701118,0.001086489,0.0133041,0.009700328,0.001323969,0.001128779,0.005544151],"category_scores_gemma":[0.006310046,0.0002802556,0.0001742832,0.001616763,0.02653857,0.004641264,0.006240136,0.00290667,0.0004064111],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005991082,"about_ca_system_score_gemma":0.001922171,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00417977,"about_ca_topic_score_gemma":0.007620947,"domain_scores_codex":[0.9973036,0.001874987,0.00008127636,0.0002473987,0.0002386017,0.0002541172],"domain_scores_gemma":[0.9956774,0.002780985,0.0003897011,0.0005916842,0.0002420351,0.0003182775],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000203293,0.0002647893,0.001842075,0.0002079479,0.00001203208,0.0007882781,0.8715087,0.00009299198,0.002215662,0.1116306,0.001430344,0.0098034],"study_design_scores_gemma":[0.00006000884,0.0002142191,0.005279484,0.0001770438,0.00002650401,0.000523484,0.8402547,0.0003003617,0.005057496,0.01205758,0.1360165,0.00003256494],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8448955,0.001563894,0.001438113,0.003901877,0.000301063,0.00007995738,0.00008529588,0.00004478424,0.1476896],"genre_scores_gemma":[0.9948305,0.0003205682,0.0002343194,0.0001525452,0.00003846871,0.00004349757,0.00002109005,0.00001497644,0.004344093],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0133041,"threshold_uncertainty_score":0.04346859,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2038709994","doi":"10.1386/safm.5.2.131_1","title":"Vernacular masculinity and politics of space in contemporary Bollywood cinema","year":2013,"lang":"en","type":"article","venue":"Studies in South Asian Film & Media","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Masculinity; Vernacular; Politics; Hindi; Subjectivity; Movie theater; Representation (politics); Aesthetics; Sociology; Space (punctuation); Gender studies; Media studies; Art; Visual arts; Literature; Political science; Law; Linguistics; Epistemology; Philosophy","authors":[{"name":"Suvadip Sinha","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05601825010040115,"gpt":0.2667261666633579,"spread":0.2107079165629568,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006575549,0.0002600607,0.0001414895,0.001039546,0.004396444,0.005516474,0.0003183557,0.0004078526,0.005079724],"category_scores_gemma":[0.0009218376,0.0001615266,0.00006471971,0.0008329299,0.006856741,0.00121608,0.002020937,0.001047735,0.0002454179],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001808471,"about_ca_system_score_gemma":0.0004673913,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006029177,"about_ca_topic_score_gemma":0.02123648,"domain_scores_codex":[0.9995116,0.0002695131,0.000008546058,0.00004488682,0.00006792074,0.00009744805],"domain_scores_gemma":[0.9995543,0.0002092936,0.00007749721,0.00002209968,0.0000445979,0.00009228685],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007455272,0.00002933417,0.004609878,0.0001008632,0.000006195305,0.0007041311,0.936911,0.00004469161,0.005375077,0.04152685,0.001289405,0.009327857],"study_design_scores_gemma":[0.000007325782,0.00007516016,0.0289662,0.0001666043,0.00001247775,0.0006768616,0.8387643,0.0001474769,0.001467154,0.002159796,0.1275317,0.00002500964],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8740051,0.0008412798,0.00054224,0.0009188724,0.00005562575,0.00001313892,0.00003122828,0.00002180861,0.1235707],"genre_scores_gemma":[0.9952136,0.0001136607,0.00006929506,0.00003234542,0.000009486566,0.000002812508,0.000005145131,0.000007851248,0.004545704],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006029177,"threshold_uncertainty_score":0.01699334,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2140032414","doi":"10.1177/097152150000700207","title":"The Desiring Subject: Female Pleasures and Feminist Resistance in Deepa Mehta's Fire","year":2000,"lang":"en","type":"article","venue":"Indian Journal of Gender Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Oppression; Lesbian; Resistance (ecology); Gender studies; Movie theater; Subject (documents); Agency (philosophy); Film director; Sociology; Politics; Pornography; Psychoanalysis; Art; Literature; Psychology; Political science; Law; Social science","authors":[{"name":"Brinda Bose","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05908286741528603,"gpt":0.2651175806494152,"spread":0.2060347132341291,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007690804,0.0003296857,0.0002595012,0.0008311892,0.02038792,0.005573745,0.0006877699,0.001949677,0.005193949],"category_scores_gemma":[0.00161129,0.0002378658,0.0002370788,0.0006183237,0.01226543,0.001867646,0.002966709,0.003887467,0.0003240479],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00855027,"about_ca_system_score_gemma":0.003645846,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2279476,"about_ca_topic_score_gemma":0.560245,"domain_scores_codex":[0.9993008,0.0001896638,0.000007005734,0.00005747834,0.0001782535,0.000266809],"domain_scores_gemma":[0.9992461,0.000316059,0.00006454152,0.00003200178,0.0001164943,0.0002247469],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007627557,0.00003137809,0.001958137,0.00006875268,0.00000836042,0.001990147,0.8734837,0.00005274694,0.002356549,0.0857867,0.0228616,0.01132573],"study_design_scores_gemma":[0.00001007809,0.00004004116,0.008880368,0.0001770169,0.0000139171,0.00159356,0.5380307,0.0001365134,0.001014849,0.003372304,0.4466904,0.00004019001],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.51695,0.00297706,0.0009470801,0.03836715,0.0007499419,0.00003817824,0.00009906103,0.00005112479,0.4398205],"genre_scores_gemma":[0.9473914,0.0007880578,0.0003194189,0.002579439,0.0001440697,0.00001502835,0.00001892727,0.00004519326,0.04869851],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2279476,"threshold_uncertainty_score":0.4532417,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2735593515","doi":"10.1177/0262728015615486","title":"Hindi, Urdu or Hindustani? Revisiting ‘National Language’ Debates through Radio Broadcasting in Late Colonial India","year":2016,"lang":"en","type":"article","venue":"South Asia Research","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Hindi; Urdu; Literary language; National language; History; Linguistics; Media studies; Sociology","authors":[{"name":"Shobna Nijhawan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1119180940351606,"gpt":0.355756527766741,"spread":0.2438384337315804,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003032875,0.0003439285,0.0002904692,0.001215162,0.01291056,0.01357735,0.0009870111,0.001441605,0.002398554],"category_scores_gemma":[0.004037207,0.0003148279,0.0001413624,0.001970479,0.0284179,0.004448122,0.004298131,0.003931652,0.0002540684],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008928481,"about_ca_system_score_gemma":0.004101211,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04246472,"about_ca_topic_score_gemma":0.05646354,"domain_scores_codex":[0.9978002,0.001345569,0.00005151426,0.0001574642,0.0001883553,0.0004569126],"domain_scores_gemma":[0.9945951,0.004329381,0.0003181022,0.0002030747,0.0002782592,0.0002760351],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002895059,0.00001166348,0.0008781193,0.00006676603,0.000003303108,0.0006240894,0.8606483,0.00003233558,0.0004161673,0.1311861,0.00120133,0.004902876],"study_design_scores_gemma":[0.0000104244,0.00003948536,0.006463129,0.0002979762,0.00002110993,0.0005550564,0.8485094,0.0001508238,0.0006826775,0.007070354,0.1361728,0.00002681584],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6896161,0.007555593,0.0006320214,0.02091444,0.0002900981,0.0000135549,0.0000303965,0.0000339034,0.2809138],"genre_scores_gemma":[0.9956766,0.0011286,0.00007854763,0.0005419773,0.00005663749,0.000004033843,0.000005192624,0.00001483021,0.002493489],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04246472,"threshold_uncertainty_score":0.08443511,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2038801250","doi":"10.1177/097133360501700202","title":"Hindu Diasporic Consciousness","year":2005,"lang":"en","type":"article","venue":"Psychology and Developing Societies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Diaspora; Hinduism; Gender studies; Sociology; Consciousness; Identity (music); Zulu; Vitality; Hindi; Aesthetics; Religious studies; Art; Psychology","authors":[{"name":"Kay Koppedrayer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03224903454087173,"gpt":0.2791918634713894,"spread":0.2469428289305176,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006761872,0.0002692742,0.0002057036,0.0007172528,0.009385286,0.005869068,0.0005671149,0.0007915183,0.004373379],"category_scores_gemma":[0.001176106,0.00012168,0.0001174135,0.0007695811,0.0156173,0.00201616,0.004752264,0.001791283,0.0003137761],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00686448,"about_ca_system_score_gemma":0.005579039,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.09147069,"about_ca_topic_score_gemma":0.1204685,"domain_scores_codex":[0.9991768,0.0003598818,0.00001462135,0.00008919916,0.0001105462,0.0002489688],"domain_scores_gemma":[0.9995862,0.0001075093,0.00004482592,0.00004069351,0.0000673476,0.0001534713],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002276226,0.00001827535,0.00255253,0.00006541073,0.000006936447,0.0006762018,0.5368454,0.00004313238,0.0008006242,0.4421501,0.003707781,0.01311092],"study_design_scores_gemma":[0.00000578237,0.00003081833,0.007595744,0.0002069023,0.00001080836,0.0006773842,0.5799661,0.0001533926,0.0004842505,0.02251978,0.3883326,0.00001644747],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3686152,0.005217599,0.002469195,0.008404893,0.0003847791,0.00005801936,0.00008218595,0.00003794114,0.6147302],"genre_scores_gemma":[0.9864849,0.001047288,0.0002417744,0.0005812045,0.00003499819,0.00001349339,0.00001750358,0.000008206743,0.01157063],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.09147069,"threshold_uncertainty_score":0.1818765,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W137676267","doi":"10.3138/cjfs.16.1.63","title":"Film Fragments, Documentary History, and Colonial Indian Cinema","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Colonialism; Humanities; Art history; History; Archaeology","authors":[{"name":"Neepa Majumdar","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02325069933296252,"gpt":0.2411708562004755,"spread":0.2179201568675129,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009710403,0.000317248,0.0002190062,0.002957382,0.005155185,0.0101233,0.0007569008,0.0006163627,0.01424245],"category_scores_gemma":[0.005319265,0.0002760447,0.0001513017,0.005190094,0.007481671,0.003767207,0.002102257,0.001484327,0.0005654118],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00548593,"about_ca_system_score_gemma":0.001907479,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04774182,"about_ca_topic_score_gemma":0.06601547,"domain_scores_codex":[0.9991413,0.0004421097,0.00003666137,0.00008134363,0.000148965,0.0001494811],"domain_scores_gemma":[0.9966978,0.001822073,0.0005967669,0.0002514339,0.0002564802,0.0003753911],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0004480184,0.0001236832,0.01447591,0.001306742,0.00005173356,0.001765924,0.5705431,0.0002270634,0.002656374,0.2988306,0.01877516,0.0907958],"study_design_scores_gemma":[0.0000242061,0.0001138166,0.09049486,0.001855339,0.0001067241,0.002085958,0.3742052,0.0002047821,0.001464886,0.01177746,0.5175931,0.00007361771],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4344223,0.04306693,0.0008027313,0.009034221,0.0005328711,0.00006610141,0.0004796556,0.00005870883,0.5115366],"genre_scores_gemma":[0.9678246,0.01170592,0.0003369781,0.0002846673,0.000235153,0.00002390166,0.0001335742,0.00003857023,0.01941656],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04774182,"threshold_uncertainty_score":0.09492791,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W58764907","doi":"","title":"And Still More Drama!: A Comparison of the Portrayals of African-American Women and African-American Men on BET's College Hill","year":2013,"lang":"en","type":"article","venue":"The Western journal of black studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Narrative; African american; Institution; Sociology; Historically black colleges and universities; Drama; Gender studies; Ethnic group; African-American culture; Racism; Social science; Anthropology; Literature; Art","authors":[{"name":"Siobhan E. Smith","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02649864149487353,"gpt":0.2687393226227455,"spread":0.242240681127872,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001237705,0.0004918824,0.0003049062,0.002667492,0.005754482,0.004608984,0.0006483878,0.001133773,0.007961886],"category_scores_gemma":[0.003612217,0.0002788949,0.0002702753,0.001540756,0.002779979,0.002734673,0.003277316,0.001690864,0.0007865349],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001809358,"about_ca_system_score_gemma":0.000891221,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01789271,"about_ca_topic_score_gemma":0.05648697,"domain_scores_codex":[0.9991639,0.0003836534,0.00002285433,0.00004597847,0.0001848104,0.0001988155],"domain_scores_gemma":[0.9986525,0.0006008342,0.0002625033,0.0000363888,0.0001777057,0.0002699953],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001727687,0.0001061885,0.01672595,0.0001651058,0.00002937843,0.0006884889,0.958961,0.00002195877,0.001648806,0.002581625,0.00583837,0.01306036],"study_design_scores_gemma":[0.000005010587,0.00004358913,0.03259075,0.0001188302,0.0000128926,0.0002717989,0.9501821,0.00005402853,0.0001870838,0.0001345841,0.01638754,0.0000116933],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9706845,0.001125113,0.0001473027,0.001611269,0.0001404673,0.00003135373,0.0001501474,0.000009075517,0.0261007],"genre_scores_gemma":[0.9927758,0.001222245,0.0001177034,0.0004885014,0.00009363052,0.00003081059,0.0001330111,0.0000280006,0.005110342],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01789271,"threshold_uncertainty_score":0.03557712,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W579635159","doi":"","title":"The Indian family in transition : reading literary and cultural texts","year":2007,"lang":"en","type":"book","venue":"","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Patriarchy; Gender studies; Tamil; Family life; Cult; Sociology; Agency (philosophy); History; Art; Literature; Social science","authors":[{"name":"Sanjukta Dasgupta","is_ca":false},{"name":"Malashri Lal","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01523241089734805,"gpt":0.2148088726965197,"spread":0.1995764617991717,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001139114,0.001111703,0.0005307839,0.004059143,0.013324,0.01053794,0.001410658,0.001299856,0.002994531],"category_scores_gemma":[0.003004103,0.0002972659,0.0003266101,0.006808947,0.01276085,0.003185909,0.003644858,0.002767154,0.0004447408],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01012937,"about_ca_system_score_gemma":0.005529734,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06373249,"about_ca_topic_score_gemma":0.07532757,"domain_scores_codex":[0.998876,0.0005346719,0.0000508976,0.00007446853,0.0001760829,0.0002877949],"domain_scores_gemma":[0.9980431,0.001202737,0.0001668488,0.00009034685,0.0002058713,0.0002912004],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005605841,0.00005992491,0.001143847,0.000309544,0.00001188106,0.002194642,0.8770949,0.0001060939,0.0005949956,0.05103628,0.04378801,0.02360378],"study_design_scores_gemma":[0.000003730762,0.00002384589,0.004388099,0.0005342626,0.00001591885,0.000711533,0.6576948,0.00005392231,0.0002507084,0.002523984,0.3337797,0.00001965326],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2560275,0.1356264,0.001137577,0.04394741,0.004342934,0.0001515609,0.000283965,0.0002753563,0.5582073],"genre_scores_gemma":[0.9220904,0.04313126,0.0006210096,0.00319567,0.001162086,0.0001189642,0.0001371852,0.0001387158,0.02940462],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.06373249,"threshold_uncertainty_score":0.1267231,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4317831304","doi":"10.1017/s0026749x22000257","title":"‘Enjoying life’: Consumption, changing meanings, and social differentiation in Kerala, India","year":2023,"lang":"en","type":"article","venue":"Modern Asian Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Consumption (sociology); Ambivalence; Consciousness; Feeling; Overconsumption; Caste; Sociology; Investment (military); Economics; Political science; Social psychology; Social science; Epistemology; Psychology; Financial crisis; Politics","authors":[{"name":"Nissim Mannathukkaren","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06733664419593285,"gpt":0.2708523892508283,"spread":0.2035157450548954,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000736298,0.0002522707,0.0003049661,0.001507433,0.004289118,0.00428281,0.0005881251,0.000415614,0.002408757],"category_scores_gemma":[0.0007831891,0.0002317945,0.0001732006,0.002213903,0.005792564,0.00132401,0.002688049,0.001017221,0.0001341118],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002478365,"about_ca_system_score_gemma":0.001126421,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02798142,"about_ca_topic_score_gemma":0.0474177,"domain_scores_codex":[0.9994703,0.0002272358,0.00002316579,0.00004880086,0.00008023557,0.0001503948],"domain_scores_gemma":[0.9993081,0.0003609745,0.0001176275,0.00003548073,0.0000581756,0.0001197611],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003855201,0.00009303923,0.04652579,0.0001393657,0.00001585327,0.0007893965,0.9357601,0.0000634104,0.001129809,0.005827243,0.00048255,0.009134918],"study_design_scores_gemma":[0.000001562481,0.00003800083,0.1083873,0.0000509396,0.00001040746,0.0002605757,0.8850757,0.00007748842,0.0001732876,0.0004095283,0.005497999,0.0000171155],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9927353,0.0002658065,0.00003679708,0.0002621207,0.000005016431,0.000004576159,0.0000159339,0.000002593573,0.006671894],"genre_scores_gemma":[0.9993931,0.0001495996,0.00002538639,0.00002111102,0.000003803597,0.000002364393,0.000005604491,0.000001125985,0.0003979376],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02798142,"threshold_uncertainty_score":0.05563712,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1978396709","doi":"10.1017/s0266464x07000309","title":"<i>Peter Pan</i> and the White Imperial Imaginary","year":2007,"lang":"en","type":"article","venue":"New Theatre Quarterly","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"The Imaginary; Invisibility; White (mutation); Drama; Gender studies; Sociology; Representation (politics); Hegemony; Race (biology); Identity (music); Racism; Human sexuality; Critical race theory; Intersectionality; Power (physics); Art; Aesthetics; Politics; Psychoanalysis; Visual arts; Psychology; Political science; Law","authors":[{"name":"Mary F. Brewer","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006541340493084511,"gpt":0.201599659457682,"spread":0.1950583189645975,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009547194,0.0005177085,0.0002279527,0.0006349155,0.008463923,0.005868501,0.0004156057,0.001566417,0.005546765],"category_scores_gemma":[0.001584685,0.0002277384,0.0001414738,0.0006086053,0.01220516,0.006343734,0.003201564,0.00428489,0.0007334502],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001913619,"about_ca_system_score_gemma":0.001486353,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008672099,"about_ca_topic_score_gemma":0.01507032,"domain_scores_codex":[0.9992923,0.0004237397,0.00001172666,0.00008460032,0.0001051586,0.00008252084],"domain_scores_gemma":[0.9994566,0.000287533,0.00005686568,0.00003309887,0.00005624194,0.000109661],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005532632,0.00002257419,0.0006704491,0.0001234528,0.000006498888,0.0004858994,0.1295066,0.00006631052,0.0007217038,0.7116987,0.1334784,0.023164],"study_design_scores_gemma":[0.000004068635,0.00001701887,0.0007409852,0.0001857858,0.000004555568,0.0003842885,0.04361124,0.0001177845,0.0004270933,0.05250636,0.9019868,0.00001401082],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04395841,0.03094458,0.004645695,0.2102871,0.003460806,0.00004428081,0.00003800064,0.00008653382,0.7065346],"genre_scores_gemma":[0.6652967,0.01584855,0.002365458,0.0306127,0.001848107,0.0001317241,0.0000281672,0.0002446086,0.283624],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008672099,"threshold_uncertainty_score":0.01855582,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1500981128","doi":"10.1080/17448727.2011.561609","title":"MAKING MEANING OF 1984 IN CYBERSPACE","year":2011,"lang":"en","type":"article","venue":"Sikh Formations","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Homeland; Cyberspace; Multiculturalism; Media studies; Meaning (existential); Gender studies; Sociology; History; Law; Psychology; Political science; Pedagogy; The Internet; Politics","authors":[{"name":"Rita Verma","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09235290626154795,"gpt":0.2483600180783166,"spread":0.1560071118167686,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004160851,0.0005574843,0.0003634863,0.001777727,0.01715115,0.02565757,0.001035781,0.004891263,0.01174378],"category_scores_gemma":[0.008301787,0.0003353188,0.0002620844,0.002711889,0.05063864,0.02541387,0.01490303,0.007421256,0.001472372],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0124937,"about_ca_system_score_gemma":0.007422574,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04512326,"about_ca_topic_score_gemma":0.03787227,"domain_scores_codex":[0.9933956,0.003998843,0.0001882115,0.000478308,0.00113805,0.0008009948],"domain_scores_gemma":[0.9962274,0.001871379,0.0002828133,0.0004506278,0.0005302419,0.0006375559],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001832434,0.00001052878,0.0006729393,0.00004029789,0.000004438273,0.000319589,0.1839943,0.00009261617,0.000106756,0.7853071,0.01835663,0.0110766],"study_design_scores_gemma":[0.00001222004,0.00001310924,0.0008926895,0.0002766913,0.000006847823,0.0001698127,0.1757873,0.0002429269,0.0001477936,0.2042421,0.618188,0.00002054513],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05890075,0.00522359,0.006597283,0.08171234,0.002008644,0.00003810197,0.000103136,0.0001368512,0.8452793],"genre_scores_gemma":[0.9149674,0.002600303,0.001022305,0.00609711,0.0004617679,0.00006807096,0.0001023478,0.000172329,0.07450822],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04512326,"threshold_uncertainty_score":0.09064853,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2465312408","doi":"10.1177/0021989416631791","title":"Post-9/11 re-orientalism: Confrontation and conciliation in Mohsin Hamid’s and Mira Nair’s <i>The Reluctant Fundamentalist</i>","year":2016,"lang":"en","type":"article","venue":"The Journal of Commonwealth Literature","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Orientalism; History; Literature; Sociology; Aesthetics; Media studies; Philosophy; Art","authors":[{"name":"Lisa Lau","is_ca":false},{"name":"Ana Cristina Mendes","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01192909074729438,"gpt":0.2211390701993109,"spread":0.2092099794520166,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003071514,0.0006172886,0.0003427477,0.0008187898,0.02042885,0.009681465,0.001173974,0.002857342,0.003430937],"category_scores_gemma":[0.004606458,0.0003633732,0.0002876933,0.0008976399,0.03088305,0.005427314,0.006577132,0.006435029,0.0004359228],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00759495,"about_ca_system_score_gemma":0.003015824,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01408834,"about_ca_topic_score_gemma":0.02221374,"domain_scores_codex":[0.9975925,0.001372342,0.00005711774,0.0002205375,0.0003403389,0.0004171813],"domain_scores_gemma":[0.9983419,0.0006571381,0.0003165479,0.0001960068,0.000229474,0.0002588516],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00006067944,0.0000310591,0.0005284913,0.00005575947,0.000006087253,0.001487431,0.865806,0.00003815081,0.000656012,0.1216863,0.005216956,0.004427176],"study_design_scores_gemma":[0.00002044719,0.00005925055,0.002607252,0.0001848604,0.00001122153,0.0009248999,0.7490158,0.0001163887,0.001392799,0.01144519,0.2341875,0.00003443335],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5560576,0.00245373,0.001992106,0.02846458,0.001921595,0.00007516659,0.00005520998,0.00005596288,0.408924],"genre_scores_gemma":[0.9858298,0.0003959182,0.0002509762,0.001188975,0.0001423529,0.00001818003,0.00001242322,0.00003437192,0.0121271],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02042885,"threshold_uncertainty_score":0.05510551,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2921278407","doi":"10.1386/jepc.9.2.119_1","title":"Poland’s enchanted Bollywood","year":2018,"lang":"en","type":"article","venue":"Journal of European Popular Culture","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Movie theater; Entertainment; Hindi; Dance; Multiculturalism; Globalization; Popularity; Film industry; Geography; Economy; Political science; Media studies; Advertising; History; Visual arts; Art; Art history; Sociology; Business; Economics","authors":[{"name":"Kaveri Devi Mishra","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02145768792846597,"gpt":0.2231614399379607,"spread":0.2017037520094947,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002927037,0.0003628077,0.000167378,0.0006309553,0.001987491,0.003723935,0.0002564298,0.0005009787,0.01317605],"category_scores_gemma":[0.0004943066,0.0001906137,0.0001373651,0.0005113612,0.001387141,0.002372514,0.003857215,0.001396411,0.002606777],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000960669,"about_ca_system_score_gemma":0.0005801039,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00173247,"about_ca_topic_score_gemma":0.007416836,"domain_scores_codex":[0.9998117,0.00002803764,0.000005614253,0.00003593727,0.00004932843,0.00006937396],"domain_scores_gemma":[0.99988,0.00001542211,0.00001605658,0.00001634122,0.00002163819,0.00005043477],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001022674,0.0002878991,0.0108036,0.001907586,0.00009819665,0.01022914,0.1410203,0.0003902491,0.03003317,0.2771284,0.1496037,0.3774751],"study_design_scores_gemma":[0.00001642284,0.00008115311,0.01102821,0.0002820651,0.00002498814,0.001326045,0.02547642,0.0001885872,0.004167562,0.004163101,0.9532221,0.00002339105],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.4450724,0.003562415,0.002174092,0.006402369,0.0008503413,0.0000662003,0.0002094706,0.0002311549,0.5414316],"genre_scores_gemma":[0.7730583,0.00187245,0.001226499,0.001186808,0.00009913557,0.00001820339,0.000102233,0.0001744221,0.2222619],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01317605,"threshold_uncertainty_score":0.04407829,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2276109153","doi":"10.32873/uno.dc.jrf.20.01.10","title":"Hinduism and Its Others in Bollywood Film of the 2000s","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal; McGill University","funders":"","keywords":"Hinduism; Hindu nationalism; Diaspora; Modernity; Westernization; Globalization; Hindi; Hybridity; Nationalism; Sociology; Ideology; Gender studies; Criticism; Aesthetics; Literature; History; Politics; Religious studies; Art; Philosophy; Anthropology; Political science; Linguistics; Law; Epistemology","authors":[{"name":"Diana Dimitrova","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01165168142048518,"gpt":0.2026053200037607,"spread":0.1909536385832755,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006657645,0.000561166,0.0002841918,0.001804729,0.005676647,0.005949222,0.0005491964,0.001045352,0.006521236],"category_scores_gemma":[0.00140507,0.0002303854,0.0001148665,0.002256767,0.0034165,0.003135268,0.002158078,0.003206933,0.0006897877],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005290315,"about_ca_system_score_gemma":0.0007595167,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01898232,"about_ca_topic_score_gemma":0.05821632,"domain_scores_codex":[0.9994459,0.0002498122,0.00001263632,0.00006368319,0.0001046154,0.0001233443],"domain_scores_gemma":[0.9992606,0.0003636733,0.0001007618,0.00003161515,0.00009049926,0.0001527515],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000341245,0.000118362,0.00294154,0.0005323108,0.0000194836,0.00180068,0.8585312,0.00006825382,0.004374646,0.04301643,0.04933619,0.03891959],"study_design_scores_gemma":[0.00001819762,0.000108224,0.01964275,0.0009065644,0.00001227119,0.0007898203,0.2269846,0.0000821827,0.00154384,0.001333057,0.7485312,0.00004724034],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5458899,0.01508465,0.0005738115,0.01184898,0.001616159,0.00006863729,0.0009771979,0.00009221607,0.4238485],"genre_scores_gemma":[0.9365848,0.004613999,0.0002744573,0.001484125,0.0004322731,0.00003421253,0.0003023315,0.00009434048,0.05617937],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01898232,"threshold_uncertainty_score":0.03838408,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2044394037","doi":"10.1386/safm.1.2.227/1","title":"Slumdogs and superstars: negotiating the culture of terror","year":2009,"lang":"en","type":"article","venue":"Studies in South Asian Film & Media","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"War on terror; Negotiation; Narrative; Politics; Representation (politics); Political science; Relation (database); Media studies; National security; Terrorism; Political economy; Sociology; Law; Art; Literature","authors":[{"name":"Sunera Thobani","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04642872607783102,"gpt":0.2709470955987567,"spread":0.2245183695209257,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001327008,0.0004746818,0.000167857,0.0005818032,0.007373747,0.005849572,0.0004921624,0.001156178,0.004373461],"category_scores_gemma":[0.001594522,0.0002400995,0.0001603176,0.0005653228,0.01360098,0.003729962,0.005093331,0.00251071,0.0003598493],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002509317,"about_ca_system_score_gemma":0.0009824123,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007494057,"about_ca_topic_score_gemma":0.01961043,"domain_scores_codex":[0.9989957,0.0007090762,0.00001544181,0.00005043022,0.00008271055,0.000146551],"domain_scores_gemma":[0.9993306,0.0003874817,0.00008897769,0.0000443693,0.00003203991,0.0001165309],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007157266,0.00002025269,0.001886193,0.0001103779,0.00001199656,0.001161645,0.9107053,0.00009141997,0.002149609,0.06922191,0.004951432,0.009618284],"study_design_scores_gemma":[0.00001422806,0.0000489648,0.002234315,0.0001684666,0.00001610956,0.0004643716,0.8549092,0.0002191499,0.001180109,0.006853581,0.1338754,0.00001628659],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7647845,0.002116844,0.001635611,0.01316801,0.0003910685,0.00004110201,0.0000457541,0.00003975663,0.2177775],"genre_scores_gemma":[0.9909737,0.0006697561,0.0002827876,0.0005949851,0.0000365199,0.000009984633,0.00001263707,0.00002107668,0.007398526],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007494057,"threshold_uncertainty_score":0.01820642,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1913448532","doi":"10.3138/topia.27.271","title":"The Globalization of Bollywood","year":2012,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Globalization; Political science; Optometry; Medicine; Law","authors":[{"name":"Sumita S. Chakravarty","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04636381472576306,"gpt":0.2623676226444766,"spread":0.2160038079187135,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008729467,0.0002945985,0.0001522273,0.001742324,0.006063758,0.01023609,0.0005482234,0.001068938,0.03114656],"category_scores_gemma":[0.001618789,0.0002035805,0.0001305423,0.001917714,0.00606749,0.004250137,0.00490009,0.002607384,0.001282004],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009843919,"about_ca_system_score_gemma":0.003755334,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02350762,"about_ca_topic_score_gemma":0.06079597,"domain_scores_codex":[0.9993167,0.0001623094,0.00001324998,0.00008989599,0.0001079475,0.0003099131],"domain_scores_gemma":[0.9994473,0.0001419821,0.00006786476,0.00008683711,0.00008940788,0.0001666437],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007152279,0.00007020942,0.00300929,0.00008910429,0.000006279044,0.0004429161,0.06376527,0.00007056485,0.0009701544,0.8729309,0.01160942,0.04696433],"study_design_scores_gemma":[0.00001513429,0.00003486866,0.02532894,0.0002998154,0.000008668188,0.0001990974,0.06410481,0.0001001142,0.000790721,0.04136999,0.8677283,0.00001958188],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2232286,0.002986087,0.0003701995,0.006916685,0.000150684,0.00002716639,0.00006790998,0.00002700067,0.7662257],"genre_scores_gemma":[0.8565376,0.001256201,0.0002999548,0.001192658,0.00005891069,0.00002349647,0.00004597407,0.00006067773,0.1405244],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9764924,"threshold_uncertainty_score":0.1041956,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2162611599","doi":"10.1080/15210960.2010.481190","title":"<i>Bend It Like Beckham:</i>Dribbling the Self Through a Cross-Cultural Space","year":2010,"lang":"en","type":"article","venue":"Multicultural Perspectives","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Multiculturalism; Odds; Diaspora; Cross-cultural; Sociology; Girl; Space (punctuation); Media studies; Football; Gender studies; Psychology; Anthropology; Pedagogy; History; Linguistics; Computer science; Philosophy; Developmental psychology; Archaeology","authors":[{"name":"Mary Ann Chacko","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02595343764586445,"gpt":0.2892625676798976,"spread":0.2633091300340331,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000366574,0.0004225234,0.0001411943,0.0004623754,0.006142239,0.005632668,0.0003943444,0.001159354,0.0101015],"category_scores_gemma":[0.001221603,0.0001940553,0.0001773395,0.0004464477,0.007026615,0.004242479,0.002438256,0.003382701,0.001230768],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001261727,"about_ca_system_score_gemma":0.0008724773,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02027371,"about_ca_topic_score_gemma":0.04909834,"domain_scores_codex":[0.9997573,0.0001054633,0.000005969654,0.00003765299,0.00004314924,0.00005039633],"domain_scores_gemma":[0.9995639,0.0001110349,0.00005365792,0.00003289142,0.000069997,0.0001686338],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001183075,0.00003126691,0.002808411,0.000235052,0.00002560654,0.002180633,0.5614274,0.00009556503,0.008350456,0.1858056,0.2072439,0.03167782],"study_design_scores_gemma":[0.000005631035,0.00003381783,0.0035595,0.0002086185,0.00001938514,0.001576954,0.2984089,0.0001741388,0.00212529,0.005122731,0.6887295,0.00003555121],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.17004,0.003272142,0.007342251,0.06930117,0.004849749,0.00007900709,0.0002132976,0.0003627868,0.7445397],"genre_scores_gemma":[0.8069026,0.002114994,0.003153283,0.008336647,0.0006401177,0.00005262374,0.00007864888,0.0002654142,0.1784557],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02027371,"threshold_uncertainty_score":0.0403114,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2090445221","doi":"10.3138/utq.70.4.902","title":"‘Powerful Joy’: Michael Ondaatje's <i>The English Patient</i> and Walter Benjamin's Allegorical Way of Seeing","year":2001,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Psychoanalysis; Literature; Art; History; Sociology; Psychology","authors":[{"name":"Marlene Goldman","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.005772965272601046,"gpt":0.1622983676973031,"spread":0.1565254024247021,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002371242,0.0009273779,0.0005723494,0.0007652725,0.0184214,0.01080049,0.001595076,0.008786548,0.01075342],"category_scores_gemma":[0.004903511,0.0005819028,0.0003543418,0.000657019,0.02167241,0.008216872,0.007660969,0.0260848,0.002480074],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0083531,"about_ca_system_score_gemma":0.005967924,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05646367,"about_ca_topic_score_gemma":0.1693821,"domain_scores_codex":[0.9980772,0.0009299211,0.00004672417,0.0001177885,0.0003030022,0.0005253758],"domain_scores_gemma":[0.9979222,0.0005248003,0.0001310447,0.00006204848,0.0002408967,0.001118966],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002533843,0.00002265018,0.0002271423,0.00009003072,0.000008650308,0.001325331,0.1115883,0.00002401773,0.0002108882,0.1039659,0.775299,0.007212552],"study_design_scores_gemma":[0.000009688836,0.00001172176,0.000288811,0.0001925792,0.000006637868,0.001691347,0.09640738,0.0000222181,0.0001084953,0.008984134,0.8922513,0.00002569423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.006933429,0.02326123,0.0006383211,0.8493481,0.03381235,0.0000195223,0.00003287783,0.00008297329,0.08587132],"genre_scores_gemma":[0.286485,0.01818667,0.0008746212,0.4485213,0.02065305,0.00008026399,0.00004391377,0.0006248492,0.2245302],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.05646367,"threshold_uncertainty_score":0.11227,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2635790917","doi":"10.1017/s0066622x00004196","title":"Exchanging Looks: ‘Art Dekho’ Movie Theatres in Bombay","year":2009,"lang":"en","type":"article","venue":"Architectural History","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"University of British Columbia","keywords":"Movie theater; Empire; Politics; Colonialism; George (robot); Boom; Population; Government (linguistics); Art history; Economic history; History; Art; Geography; Ancient history; Archaeology; Political science; Sociology; Engineering; Law; Demography","authors":[{"name":"Michael Windover","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01655900274635944,"gpt":0.1866867956339059,"spread":0.1701277928875465,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006138775,0.00125162,0.0004065041,0.0007947179,0.01206028,0.003635722,0.0006571352,0.001320891,0.03129096],"category_scores_gemma":[0.001086906,0.0004618684,0.0003683987,0.0006729054,0.002431129,0.001679513,0.003596429,0.002435156,0.004211177],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002531986,"about_ca_system_score_gemma":0.0005056838,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02959894,"about_ca_topic_score_gemma":0.1227013,"domain_scores_codex":[0.9993908,0.0002505952,0.00001222609,0.00007247136,0.00009274993,0.0001809507],"domain_scores_gemma":[0.9996042,0.00006926947,0.00002690203,0.00004018341,0.00005388922,0.0002056034],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"qualitative","study_design_scores_codex":[0.001064198,0.0001907661,0.005720938,0.0008728855,0.0001400428,0.003500127,0.2307324,0.0003295651,0.006799472,0.01089608,0.6612915,0.07846208],"study_design_scores_gemma":[0.0000307571,0.0001382825,0.03445015,0.0003731755,0.00003363252,0.001442056,0.09892596,0.0001852557,0.0007539876,0.0004248625,0.8631641,0.00007783006],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4004021,0.01533922,0.001508908,0.01859903,0.007490771,0.0004092426,0.002913141,0.0008767321,0.5524608],"genre_scores_gemma":[0.8150697,0.004696921,0.002875143,0.003330349,0.001316735,0.0002255971,0.001493095,0.0007099396,0.1702826],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03129096,"threshold_uncertainty_score":0.1046786,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4380928987","doi":"10.3138/ctr.118.008","title":"Re-baptizing the World in Our Own Terms: Black Theatre and Live Arts in Britain","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Hegemony; Colonialism; Ideology; Black British; Context (archaeology); Politics; White (mutation); The arts; Fantasy; Gender studies; Cultural hegemony; History; Theatre studies; Aesthetics; Art; Sociology; Literature; Visual arts; Political science; Drama; Law","authors":[{"name":"Michael McMillan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02483649219269842,"gpt":0.238512614918996,"spread":0.2136761227262975,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001629223,0.0001982742,0.0002635452,0.001108019,0.00589615,0.006350589,0.0004677936,0.001359791,0.006178307],"category_scores_gemma":[0.001951198,0.0001665989,0.0000984131,0.001621057,0.004244373,0.001319136,0.001983129,0.001247421,0.0005677273],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007167653,"about_ca_system_score_gemma":0.006171489,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2055442,"about_ca_topic_score_gemma":0.3538834,"domain_scores_codex":[0.9983392,0.0008348824,0.00004549029,0.0001030043,0.000455098,0.0002224073],"domain_scores_gemma":[0.9991556,0.0003695369,0.00008631217,0.00003567048,0.0001805093,0.0001722135],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0003102211,0.000112866,0.002899605,0.002608347,0.00002632264,0.002274615,0.470529,0.0003619591,0.003518732,0.2000992,0.08387279,0.2333863],"study_design_scores_gemma":[0.00001298204,0.00007269125,0.008893871,0.0008104958,0.00001279066,0.000468356,0.08833875,0.00005707708,0.0005666696,0.002374462,0.8983752,0.00001663831],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2648055,0.2095441,0.0008111263,0.0226247,0.001908372,0.00007616459,0.00006469222,0.00002890634,0.5001365],"genre_scores_gemma":[0.7285561,0.04837108,0.0005167176,0.002234817,0.0002680794,0.00003874538,0.00004378255,0.00006636431,0.2199043],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2055442,"threshold_uncertainty_score":0.4086956,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W598334664","doi":"10.4324/9780203556054","title":"Routledge Handbook of Indian Cinemas","year":2013,"lang":"en","type":"book","venue":"","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Movie theater; Tamil; Hindi; National cinema; Art; Media studies; History; Gender studies; Art history; Sociology; Literature","authors":[{"name":"K. Moti Gokulsing","is_ca":false},{"name":"Wimal Dissanayake","is_ca":false},{"name":"Rohit K. Dasgupta","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01647651693305678,"gpt":0.180369143603845,"spread":0.1638926266707882,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009121308,0.001276594,0.0007995151,0.003999733,0.002745454,0.009304086,0.002342703,0.001560741,0.2520164],"category_scores_gemma":[0.003732002,0.0008094164,0.0005974068,0.006555216,0.001794329,0.005032063,0.003172784,0.002812319,0.1188066],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003808382,"about_ca_system_score_gemma":0.005708343,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01756192,"about_ca_topic_score_gemma":0.02492096,"domain_scores_codex":[0.9985617,0.0003186337,0.000117026,0.0001846171,0.0006409833,0.0001770535],"domain_scores_gemma":[0.9980849,0.0005359005,0.0001271507,0.0003981643,0.0005926393,0.0002612247],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002415715,0.00001935997,0.000155941,0.001183686,0.00000682583,0.0001549196,0.003351081,0.0001592152,0.0005181865,0.04894582,0.7105303,0.2349505],"study_design_scores_gemma":[5.48734e-7,0.00000146758,0.0001286031,0.0002215267,0.000001114001,0.00006093729,0.0002899245,0.00001264283,0.00002784463,0.0007646613,0.9984871,0.000003583677],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0005199081,0.08924972,0.003215975,0.00465281,0.003750306,0.00011529,0.002855244,0.001812728,0.893828],"genre_scores_gemma":[0.01417489,0.08263785,0.004266303,0.002106644,0.001983917,0.0002473574,0.00240027,0.001494534,0.8906882],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2520164,"threshold_uncertainty_score":0.8430789,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2344102095","doi":"10.1177/1748048515601577","title":"Learning through entertainment: The effects of Bollywood movies on the job-seeking behavior of South Asian female","year":2015,"lang":"en","type":"article","venue":"International Communication Gazette","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Entertainment; Psychology; Social psychology; Narrative; Advertising; Political science; Business; Art","authors":[{"name":"Azmat Rasul","is_ca":false},{"name":"Arthur A. Raney","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03879144581047668,"gpt":0.2633408713618756,"spread":0.224549425551399,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003142591,0.0001991262,0.0001287337,0.0002176533,0.0004156681,0.0005999785,0.0001020902,0.000214721,0.005450779],"category_scores_gemma":[0.001603654,0.00008953673,0.0002204075,0.0001411337,0.0002331483,0.0002771219,0.000485834,0.0003603742,0.0002660506],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001505497,"about_ca_system_score_gemma":0.0002029477,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002234107,"about_ca_topic_score_gemma":0.006012335,"domain_scores_codex":[0.9999009,0.0000409418,0.000005949748,0.00001059662,0.0000153061,0.00002635261],"domain_scores_gemma":[0.9991564,0.0003313075,0.0002351662,0.00003384671,0.00004720238,0.0001962316],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0009187702,0.001564373,0.9053016,0.000345584,0.0001804811,0.000790244,0.02401399,0.0001082303,0.01473888,0.0002490575,0.0006412124,0.05114749],"study_design_scores_gemma":[0.00001005842,0.0004637511,0.9818704,0.00004084668,0.00006140192,0.0001543652,0.01525276,0.000100839,0.0009104726,0.00004214377,0.001085592,0.000007320013],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9985083,0.00008957426,0.00001445126,0.00006554961,0.000003898252,0.000004028922,0.00002450443,0.0000010522,0.001288685],"genre_scores_gemma":[0.998678,0.0001970723,0.00005919679,0.00004994606,0.00001010757,0.000005826445,0.00003083109,0.00000129093,0.000967619],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.005450779,"threshold_uncertainty_score":0.01823467,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}