{"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001592642,0.0002488767,0.0002695441,0.00005438312,0.001086672,0.0004689295,0.0005157181,0.00006195549,0.0001740996],"category_scores_gemma":[0.0002816858,0.0001131226,0.0001027612,0.00009695745,0.0003745132,0.0005508059,0.00008464218,0.0002822392,0.00008992629],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006436421,"about_ca_system_score_gemma":0.0001368543,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000730613,"about_ca_topic_score_gemma":0.0000792273,"domain_scores_codex":[0.9977818,0.0003334255,0.000648465,0.0003642763,0.000344745,0.0005272648],"domain_scores_gemma":[0.9984264,0.0007433873,0.0002560506,0.0004042746,0.00009659971,0.00007325303],"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":[0.0004841232,0.0002102987,0.06181476,0.0001051201,0.0001120922,0.0005788674,0.4321071,1.296702e-7,0.0008905288,0.2737208,0.1645918,0.06538444],"study_design_scores_gemma":[0.001005867,0.0001177763,0.002259783,0.0003449547,0.000002593902,0.00001106168,0.2229944,0.00001350131,0.00004188282,0.001658862,0.7712872,0.00026213],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4993958,0.00743324,0.000006459286,0.007227488,0.0004729947,0.0005680935,0.00003698021,0.0001632327,0.4846957],"genre_scores_gemma":[0.9800431,0.00002162434,0.000004490329,0.001463741,0.001259809,0.0002003512,0.000006904046,0.00003207798,0.01696788],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6066955,"threshold_uncertainty_score":0.8357911,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001234427,0.0001041564,0.0001541896,0.00002297785,0.0001851505,0.0001737796,0.00005756283,0.00004336075,0.0002082251],"category_scores_gemma":[0.00000616797,0.0000510192,0.00002452684,0.00002403898,0.0002206029,0.0004204526,0.00001948272,0.00009747463,0.0000738053],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001921539,"about_ca_system_score_gemma":0.000008381819,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002093223,"about_ca_topic_score_gemma":0.00003593082,"domain_scores_codex":[0.9994624,0.00002400241,0.0001485383,0.0001069593,0.0001073397,0.0001507927],"domain_scores_gemma":[0.9996935,0.00001727063,0.00008991497,0.000121994,0.00003638717,0.00004091894],"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":[0.000331128,0.00002786524,0.002592561,0.0003054209,0.00007537158,0.000001759129,0.727731,0.00000663304,0.0001274965,0.2498647,0.01469003,0.004246016],"study_design_scores_gemma":[0.003165702,0.0001142712,0.003436661,0.0001047315,0.00002284572,0.00001363331,0.07278133,0.0001711061,0.00005139326,0.001792353,0.9181044,0.000241601],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9450582,0.001170025,0.00000561338,0.001311566,0.000303244,0.0002706434,0.0000164791,0.00004697591,0.0518172],"genre_scores_gemma":[0.9930381,0.0001332736,0.000004566651,0.0004819052,0.0002873732,0.00001705322,0.000009038041,0.00000769422,0.006021062],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9034144,"threshold_uncertainty_score":0.2279919,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0001598469,0.0004088851,0.0004186754,0.0001175531,0.0006640895,0.0003748313,0.0001651049,0.0003251221,0.0008521496],"category_scores_gemma":[0.00006773067,0.0003720369,0.0001404074,0.000008873532,0.0002268518,0.0001172516,0.00005501688,0.0007454993,0.00009704749],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005698415,"about_ca_system_score_gemma":0.0001554245,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001863848,"about_ca_topic_score_gemma":0.0006599266,"domain_scores_codex":[0.9983901,0.0000290467,0.0004604896,0.0005233586,0.0002320705,0.0003649035],"domain_scores_gemma":[0.9989161,0.00008085658,0.0002941586,0.000381792,0.000210557,0.0001165737],"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":[0.00001736621,0.00002289956,0.0000227711,0.0003168639,0.0001689255,0.00001194285,0.0700933,0.000002530182,0.0000153232,0.8444404,0.05224685,0.03264084],"study_design_scores_gemma":[0.0003291015,0.00007379748,0.0000133917,0.0004263516,0.0002261002,0.00002528803,0.008600052,0.0000122099,0.00005128418,0.01415825,0.9755629,0.0005212146],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0002077599,0.0009348367,0.00003851378,0.0004259248,0.000721966,0.0005397297,0.00003173028,0.0002175598,0.996882],"genre_scores_gemma":[0.1608135,0.000007935594,0.00007149723,0.0004753893,0.008201528,0.00004386118,0.00008286544,0.00006554264,0.8302379],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9233161,"threshold_uncertainty_score":0.9998732,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001148039,0.0002004064,0.0002127037,0.00006040826,0.0008903381,0.000141331,0.0001123391,0.00006581863,0.001526948],"category_scores_gemma":[0.000472061,0.0001535328,0.00007236838,0.00003459419,0.0004740671,0.0001347055,0.00006439515,0.0002211954,0.00009354016],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001550883,"about_ca_system_score_gemma":0.00002504375,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001886717,"about_ca_topic_score_gemma":0.00002771146,"domain_scores_codex":[0.9985821,0.0004670621,0.0002196134,0.0002824656,0.000160742,0.0002879779],"domain_scores_gemma":[0.9991073,0.0004448009,0.0001020153,0.0001780462,0.00007416413,0.00009366436],"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":[0.00290316,0.0002947763,0.09080096,0.000815523,0.0005572029,0.0005829355,0.3991463,0.000001257077,0.004041077,0.1351972,0.2409057,0.1247539],"study_design_scores_gemma":[0.001017655,0.00004457663,0.003748674,0.0004097002,0.00009202956,0.000215989,0.02735136,0.00006378397,0.00009674581,0.001878733,0.9645249,0.0005558442],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7689031,0.006393186,0.00001928314,0.0001300905,0.0003949162,0.000178849,0.00002309081,0.0002372628,0.2237203],"genre_scores_gemma":[0.9780547,0.0002642967,0.0001497794,0.0005416475,0.0003406176,0.000006333977,0.000009029146,0.00002987726,0.02060369],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7236192,"threshold_uncertainty_score":0.9993858,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0000321605,0.0002421474,0.000247965,0.00004830154,0.0001897609,0.0002727057,0.0001725537,0.0001761516,0.5110697],"category_scores_gemma":[0.000003858879,0.0001769275,0.0001524453,0.000006635938,0.000120143,0.00008089568,0.00002186572,0.0002708967,0.06219364],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003908432,"about_ca_system_score_gemma":0.000111618,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002117616,"about_ca_topic_score_gemma":0.0008903997,"domain_scores_codex":[0.9991896,0.000005586491,0.0001747409,0.0002410253,0.0001727678,0.0002163351],"domain_scores_gemma":[0.9995003,0.00001365168,0.00007237475,0.0002610071,0.0000859209,0.00006673323],"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":[0.00000166361,0.000007191878,0.000001089226,0.00002145406,0.00002612839,0.0000132811,0.002320745,2.264857e-8,5.65632e-8,0.2973853,0.7000019,0.0002211826],"study_design_scores_gemma":[0.0001009142,0.00002346309,1.206412e-7,0.00004406063,0.00004751948,0.000004178305,0.001115232,4.683789e-7,4.805249e-7,0.01445944,0.9839399,0.0002642467],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.000001423031,0.000744977,0.000001541593,0.0001190885,0.0007455077,0.0001282286,0.00004693543,0.0002068724,0.9980054],"genre_scores_gemma":[0.00001113014,0.00004273205,0.00001426074,0.0009206831,0.004724538,0.00000783759,0.0001971534,0.00004677493,0.9940349],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.448876,"threshold_uncertainty_score":0.9385365,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001206119,0.0001480004,0.000138088,0.00003550937,0.0002563983,0.00017418,0.0001271816,0.00005124086,0.003113331],"category_scores_gemma":[0.000004754585,0.00009225083,0.00004397129,0.00003681722,0.0001843284,0.0001579933,0.00001701439,0.0002042766,0.0004691391],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007339251,"about_ca_system_score_gemma":0.00001037949,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001039917,"about_ca_topic_score_gemma":0.00007708547,"domain_scores_codex":[0.9992414,0.00003870231,0.0001476884,0.0002052708,0.0001284875,0.0002385233],"domain_scores_gemma":[0.9996999,0.000025221,0.00003325697,0.0001786642,0.00001783563,0.00004511556],"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":[0.00004224643,0.00007273859,0.001776051,0.00002336111,0.0001134598,0.00002779666,0.8908393,0.000009979597,0.00003750403,0.05198181,0.0178391,0.03723665],"study_design_scores_gemma":[0.0003700795,0.00002592723,0.0006588461,0.00005188413,0.00003683207,0.000006434012,0.4484254,0.0003750965,0.000007200454,0.001906904,0.547887,0.0002483448],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.008231857,0.002631287,0.00000159631,0.000241141,0.0001558605,0.0001525407,0.00001725731,0.00006611301,0.9885023],"genre_scores_gemma":[0.9823221,0.00003867999,0.00001957477,0.0003143326,0.0003811787,0.00001703662,0.0000039784,0.00002150972,0.01688162],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.9740902,"threshold_uncertainty_score":0.997798,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00007263774,0.00009064763,0.00009107986,0.00002994314,0.0004221472,0.0002421855,0.0001992581,0.00002383719,0.008393724],"category_scores_gemma":[0.00002819073,0.00004229309,0.0002725318,0.0000300066,0.00005970083,0.00009008598,0.00001240473,0.0001163451,0.0003467423],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001112468,"about_ca_system_score_gemma":0.00001227176,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00009588435,"about_ca_topic_score_gemma":0.002163334,"domain_scores_codex":[0.9994099,0.00003215272,0.0001953428,0.0001116814,0.00009482454,0.0001560793],"domain_scores_gemma":[0.9996535,0.00001823186,0.00005218329,0.000178949,0.00005955829,0.00003764622],"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":[0.00003107449,0.0001544911,0.00006513228,0.00001536584,0.00003843039,0.00001928749,0.02692498,0.00000141107,0.00001700998,0.8536758,0.1071066,0.01195038],"study_design_scores_gemma":[0.0002965819,0.0002692242,0.002611392,0.0001318478,0.00008134818,0.00001836184,0.01379376,0.00001376653,0.00003870074,0.01549824,0.9670866,0.0001601807],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2414687,0.001617809,0.001008203,0.05160571,0.004405405,0.0009799586,0.0003844225,0.0007358386,0.697794],"genre_scores_gemma":[0.9080785,0.000003018312,0.00001836591,0.001068139,0.0009511693,0.00001245137,0.00001635023,0.000006485777,0.08984552],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.85998,"threshold_uncertainty_score":0.9925128,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002464835,0.00008777748,0.0001891773,0.00003010053,0.0001625403,0.00004292004,0.00005412635,0.00003967462,0.0002033993],"category_scores_gemma":[0.00006098246,0.00005714089,0.00002913278,0.00002934287,0.0008793409,0.0003646817,0.00002050455,0.00004835679,0.000002628833],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000004131972,"about_ca_system_score_gemma":0.000009973262,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003194109,"about_ca_topic_score_gemma":0.002205173,"domain_scores_codex":[0.9993548,0.00004891233,0.0002332064,0.0001708117,0.0001020904,0.00009022289],"domain_scores_gemma":[0.9995092,0.00004389305,0.0001429918,0.0001764894,0.00009497299,0.00003242015],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.001558799,0.00004833395,0.0008561059,0.0000510653,0.00006637639,0.00000291431,0.9460365,7.188787e-7,0.004790648,0.04009043,0.0003638571,0.006134288],"study_design_scores_gemma":[0.004090512,0.001007771,0.0121718,0.0001148152,0.0002092444,0.00001292829,0.8928295,0.00002104401,0.0170449,0.01027697,0.06178007,0.0004404458],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9944321,0.0005997969,0.00002369151,0.001520075,0.0003094678,0.0002272899,0.00003141595,0.00001906243,0.002837106],"genre_scores_gemma":[0.9987636,0.00001465303,0.00006277468,0.0000804235,0.0005520751,0.000006319453,0.00001516279,0.000007903832,0.0004970593],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.06141621,"threshold_uncertainty_score":0.3239968,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00147141,0.0002089618,0.0002688919,0.0002010992,0.0001998665,0.0005995053,0.001092881,0.0001204537,0.0005710157],"category_scores_gemma":[0.002736764,0.0001644796,0.0001625877,0.0002207514,0.00006164823,0.0006091172,0.00009427006,0.0002308096,0.0004986088],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004887956,"about_ca_system_score_gemma":0.0001969506,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001232433,"about_ca_topic_score_gemma":0.0004402357,"domain_scores_codex":[0.9967949,0.0001635241,0.0009536131,0.0002429702,0.00158855,0.0002564235],"domain_scores_gemma":[0.9945715,0.0002601266,0.001403877,0.0005476941,0.003037001,0.0001797888],"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":[0.00001914294,0.0002206525,0.003046125,0.0000288487,0.0001991919,2.126111e-7,0.06567298,0.00004994581,0.000111144,0.4819147,0.447283,0.001454063],"study_design_scores_gemma":[0.001638593,0.0003202567,0.00446318,0.0001335729,0.0001674308,0.000005980751,0.03167069,0.009803714,0.0002065956,0.05602526,0.8949615,0.0006032276],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.06678503,0.00002098405,0.001978526,0.2027481,0.005577208,0.001368225,0.0004059105,0.0003273058,0.7207887],"genre_scores_gemma":[0.9109343,0.000003765606,0.00280261,0.002484333,0.001178466,0.0001473542,0.0001963995,0.00004689226,0.0822059],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8441492,"threshold_uncertainty_score":0.6707283,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00004985792,0.0001326605,0.0002071252,0.00003293209,0.0001820019,0.00007749945,0.00006970258,0.00005481255,0.0007979216],"category_scores_gemma":[0.00001098865,0.0001028032,0.00006802136,0.0000279159,0.0001599311,0.00009404219,0.0000121978,0.00008706535,0.00003197097],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006497702,"about_ca_system_score_gemma":0.00001308376,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005642761,"about_ca_topic_score_gemma":0.002317925,"domain_scores_codex":[0.9992744,0.00002874498,0.0002208676,0.0001597375,0.0001313618,0.0001848378],"domain_scores_gemma":[0.9997061,0.00002358832,0.00006929105,0.00008681468,0.00007828059,0.00003590826],"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":[0.0002381683,0.0002690792,0.007040317,0.0005009269,0.0001457175,0.00006363294,0.4822086,0.000007919049,0.01103204,0.4636379,0.02861498,0.006240659],"study_design_scores_gemma":[0.004161237,0.0004232641,0.01448455,0.0001210729,0.0002803553,0.00006868588,0.05573422,0.00008845672,0.001894036,0.01398834,0.9078514,0.0009043889],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7518019,0.002411804,0.000001908817,0.001426955,0.0002409627,0.0002091854,0.00008372253,0.00006190906,0.2437617],"genre_scores_gemma":[0.987569,0.000005506894,0.0001675421,0.0001167887,0.0009013694,0.000007821228,0.00001801019,0.00001319367,0.01120071],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8792364,"threshold_uncertainty_score":0.8736682,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0000578462,0.000170817,0.0002172915,0.00002300291,0.0002402356,0.00007302259,0.0001250148,0.0001033974,0.01218888],"category_scores_gemma":[0.000003096721,0.0000855851,0.0000898041,0.00000421244,0.000340147,0.00004170748,0.0000658343,0.0001337738,0.0004188757],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001677846,"about_ca_system_score_gemma":0.00002744428,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001097693,"about_ca_topic_score_gemma":0.0004496819,"domain_scores_codex":[0.9993941,0.00001038754,0.0001702734,0.0001169651,0.0001405473,0.0001677379],"domain_scores_gemma":[0.9995335,0.00004257745,0.0001106285,0.000207129,0.00005224985,0.00005391115],"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":[0.000006979134,0.000004461853,0.00002185271,0.00005231984,0.00004249741,7.173447e-7,0.01021167,2.76884e-9,9.704768e-7,0.4179265,0.5709546,0.0007774434],"study_design_scores_gemma":[0.0001187954,0.00002411732,0.00006204347,0.00003247495,0.00006882576,0.000004495274,0.001849648,1.416749e-7,0.000002735202,0.006172806,0.991524,0.0001399209],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0002700062,0.009708311,1.036206e-7,0.0001798258,0.0004412573,0.0001270726,0.00006658959,0.00002685305,0.98918],"genre_scores_gemma":[0.003160666,0.0001561082,0.000003259462,0.0001287785,0.001178583,0.000003650805,0.00003320545,0.00002118131,0.9953145],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4205694,"threshold_uncertainty_score":0.9887141,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001169328,0.0001345968,0.0004678833,0.00002382748,0.0003941509,0.0004294482,0.0004278014,0.0002241107,0.001410256],"category_scores_gemma":[0.000007176948,0.0002056867,0.000217889,0.000002972572,0.001335625,0.00007160282,0.0002380527,0.0003918629,0.00002164857],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002844734,"about_ca_system_score_gemma":0.000132654,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.08089167,"about_ca_topic_score_gemma":0.3083007,"domain_scores_codex":[0.9990542,0.00006988554,0.000149984,0.0002947939,0.0002463792,0.0001847833],"domain_scores_gemma":[0.9991748,0.00007062902,0.0002294312,0.0003034944,0.0001475678,0.00007411213],"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":[0.00005224598,0.00001423877,0.00001854921,0.0003198116,0.0003098619,0.0001253368,0.05101701,1.147756e-7,9.739055e-8,0.01370172,0.9264964,0.007944655],"study_design_scores_gemma":[0.001991153,0.00003953122,0.00008966459,0.0003872144,0.0002751069,0.00002697641,0.007730274,0.000002130886,7.763303e-8,0.001888518,0.9873167,0.0002526498],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001054363,0.0004982546,3.93533e-7,0.00003004455,0.000199285,0.000597644,0.0008554402,0.00004746881,0.9967171],"genre_scores_gemma":[0.008667571,0.0001363999,0.000007110305,0.00008203866,0.0002554547,6.695508e-7,0.00006014661,0.00002386118,0.9907668],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.227409,"threshold_uncertainty_score":0.9995026,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001336782,0.0001300749,0.0001490484,0.00003317087,0.0002048,0.0003062321,0.00009751891,0.00006843765,0.0001701003],"category_scores_gemma":[0.00004685383,0.0001016039,0.00004104174,0.00001692452,0.000117912,0.0001606624,0.00004735814,0.0001460096,0.0001400786],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000186646,"about_ca_system_score_gemma":0.00002416624,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006960874,"about_ca_topic_score_gemma":0.0004044622,"domain_scores_codex":[0.9992781,0.00003602222,0.0001089779,0.0001947538,0.0001786003,0.000203506],"domain_scores_gemma":[0.9995917,0.00002058923,0.00003960536,0.0001453913,0.000076818,0.0001258607],"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":[0.00008251505,0.00004529852,0.001015481,0.00002983518,0.00004384169,0.00005196203,0.8642976,0.000008182319,0.00011838,0.1127536,0.01339868,0.008154669],"study_design_scores_gemma":[0.003720165,0.000682064,0.00156326,0.0001367206,0.000155416,0.0001059844,0.02790958,0.004605788,0.0002343918,0.351617,0.6081895,0.00108021],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8986713,0.0006717084,0.00004460507,0.001948568,0.0004787621,0.0001497475,0.00001244818,0.0001659155,0.09785692],"genre_scores_gemma":[0.9900035,0.000001473877,0.00009845076,0.0006242354,0.0008237024,0.000008444998,0.00001216424,0.00001922378,0.008408865],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.836388,"threshold_uncertainty_score":0.4143288,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006117201,0.00008498435,0.0001807903,0.00009419554,0.0009681715,0.000114177,0.0004374098,0.00003713867,0.0001141542],"category_scores_gemma":[0.00003166323,0.00005960209,0.00005548414,0.00003434132,0.001046919,0.0002050849,0.00001361315,0.0003501257,9.258401e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000366579,"about_ca_system_score_gemma":0.0002085144,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01155625,"about_ca_topic_score_gemma":0.582039,"domain_scores_codex":[0.999101,0.0003576233,0.0002714145,0.00003469618,0.0001068649,0.0001283517],"domain_scores_gemma":[0.9986908,0.0001360606,0.0003121652,0.0004422729,0.0003027038,0.0001160106],"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":[0.0001241911,0.00003946124,0.003717647,0.00004100593,0.00006807047,0.000007188097,0.3675835,0.00003499976,0.00001163213,0.5748991,0.05195291,0.001520206],"study_design_scores_gemma":[0.001319193,0.00006407375,0.02954437,0.0003036855,0.0001158112,0.00003772477,0.2485679,0.00002164189,0.00001512311,0.008982069,0.710863,0.0001654532],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9041417,0.014051,0.00001122938,0.0068895,0.000165505,0.0001678578,0.00005736889,0.00001010273,0.07450579],"genre_scores_gemma":[0.9975615,0.0000724339,0.0001097486,0.0001953801,0.0001582666,0.000002729376,0.00002879677,0.00001092185,0.001860268],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.65891,"threshold_uncertainty_score":0.9950259,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002508166,0.00008068228,0.0001461261,0.00001572814,0.0001090024,0.00003886618,0.00006224088,0.00001895149,0.003779917],"category_scores_gemma":[0.0001006699,0.00006491416,0.00007774713,0.00003606394,0.00003924291,0.0001671676,0.00000408983,0.00007960926,0.000817401],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001684914,"about_ca_system_score_gemma":0.00004502114,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000007857275,"about_ca_topic_score_gemma":0.00002332274,"domain_scores_codex":[0.9993004,0.00004675202,0.0002025928,0.0001307968,0.0002108457,0.0001086692],"domain_scores_gemma":[0.9994983,0.0000275626,0.00005292754,0.000101084,0.0002378541,0.00008224036],"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":[0.00002185469,0.00008698169,0.00001726465,0.00771617,0.00005622956,0.00002508233,0.02833457,0.00001694806,0.00001289253,0.6372556,0.3093099,0.01714652],"study_design_scores_gemma":[0.0002401641,0.00001750538,0.00001975796,0.001581671,0.0004708952,0.00002205532,0.004650465,0.00003150822,0.000002793926,0.001869624,0.9909511,0.0001425209],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.001127864,0.1329864,0.000319055,0.01540223,0.001062686,0.0004979516,0.00008340122,0.0001986045,0.8483217],"genre_scores_gemma":[0.745095,0.04724721,0.003379818,0.0967372,0.02438091,0.0004744202,0.002367174,0.0001778682,0.08014046],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7681813,"threshold_uncertainty_score":0.9999606,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002103429,0.0004100171,0.0004387366,0.0001729611,0.0006830046,0.0004674127,0.000254624,0.0002508274,0.01172407],"category_scores_gemma":[0.0000261759,0.0003642109,0.0001144897,0.0002025028,0.0003281282,0.0006456375,0.00007580865,0.0004412898,0.0007624525],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009529884,"about_ca_system_score_gemma":0.00002059696,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003893587,"about_ca_topic_score_gemma":0.0005840416,"domain_scores_codex":[0.9978861,0.0001161545,0.0004648232,0.000505699,0.00038314,0.0006440917],"domain_scores_gemma":[0.9991556,0.00004797447,0.0002120917,0.0003255317,0.00007906418,0.0001797557],"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":[0.00004355754,0.000435563,0.003399068,0.0001153527,0.00004762184,0.00001149766,0.3143251,7.010357e-8,0.0001846084,0.004532922,0.6429885,0.03391614],"study_design_scores_gemma":[0.0008803324,0.00007488006,0.0009099524,0.00006649792,0.00002719256,0.00001039738,0.0938618,0.00004713741,0.0000242698,0.0001099748,0.9035198,0.0004677824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2113427,0.1048229,0.00001202879,0.01376316,0.002235884,0.003479362,0.002961057,0.001127023,0.6602559],"genre_scores_gemma":[0.9754657,0.002917738,0.00002679296,0.0002778681,0.001421738,0.0002190099,0.0005611783,0.00006442894,0.01904555],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.764123,"threshold_uncertainty_score":0.999881,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002783803,0.0003486694,0.0004383934,0.000253549,0.0009123421,0.0002303259,0.0006199757,0.00009799024,0.003628923],"category_scores_gemma":[0.0000218699,0.0002390134,0.000328246,0.0003915336,0.0006193055,0.0002160874,0.00003132293,0.0007365749,0.0004042459],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001200471,"about_ca_system_score_gemma":0.00005257897,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004934163,"about_ca_topic_score_gemma":0.03798454,"domain_scores_codex":[0.9979662,0.0001446285,0.000520386,0.0004034296,0.000507984,0.0004573946],"domain_scores_gemma":[0.9986796,0.0002090524,0.000272026,0.000545122,0.000173832,0.0001203283],"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":[0.0002782994,0.000259396,0.0005637112,0.0001195358,0.0002407382,0.00003075641,0.2947707,0.000001066459,0.005047155,0.3521154,0.3388724,0.007700901],"study_design_scores_gemma":[0.001421404,0.0002663405,0.009146386,0.0001129999,0.0004915844,0.000005382942,0.03182748,0.00004207383,0.0002946469,0.02278163,0.9329641,0.0006459597],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8187215,0.0005369165,0.00002088461,0.009781579,0.00422093,0.0005689827,0.0005428009,0.0002519099,0.1653545],"genre_scores_gemma":[0.96122,0.000004477382,0.0001218508,0.001451401,0.005205074,0.00003384212,0.00008911524,0.00004632655,0.03182788],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5940917,"threshold_uncertainty_score":0.9972819,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001720596,0.0001793508,0.0002758156,0.00004934807,0.0001532577,0.00006866905,0.0003656877,0.00008603332,0.006552273],"category_scores_gemma":[0.0001000563,0.0001036409,0.0001288218,0.00007226065,0.0001905819,0.00008722362,0.00006559494,0.0002480494,0.0005044813],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001415973,"about_ca_system_score_gemma":0.00007974786,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00009874807,"about_ca_topic_score_gemma":0.0001229651,"domain_scores_codex":[0.9986367,0.00004743322,0.0003260558,0.0002048062,0.0004563067,0.0003286964],"domain_scores_gemma":[0.9989015,0.000344547,0.0001435538,0.0003699751,0.0001046017,0.0001357633],"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":[0.00005592566,0.00006141626,0.001211725,0.00009088522,0.00006242671,0.000009122016,0.4923957,0.00001728442,0.0001739894,0.1121898,0.3469853,0.0467464],"study_design_scores_gemma":[0.0007555087,0.00007255616,0.001653587,0.0002160003,0.00005617238,0.000005129243,0.0330594,0.0001249676,0.0001036825,0.004023614,0.9596889,0.0002404656],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8891048,0.00734745,0.00001118355,0.002315572,0.008928541,0.0004852217,0.00006010216,0.0001489311,0.09159822],"genre_scores_gemma":[0.9856539,0.0001705641,0.00005010238,0.0006643938,0.007728027,0.000002704482,0.00002848598,0.00002446851,0.00567739],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6127036,"threshold_uncertainty_score":0.9943559,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001714778,0.0002577706,0.0004054575,0.0002002722,0.0002319881,0.000100186,0.0001330832,0.0000774078,0.0003285411],"category_scores_gemma":[0.000170672,0.000202539,0.00004935057,0.0001330786,0.0004753327,0.0002621065,0.00003610974,0.0002981214,0.00002330318],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004281118,"about_ca_system_score_gemma":0.00004895039,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001336015,"about_ca_topic_score_gemma":0.003479688,"domain_scores_codex":[0.9986554,0.00006188577,0.0003576695,0.0003305202,0.0002536349,0.0003409302],"domain_scores_gemma":[0.9995154,0.00007135996,0.00009733757,0.0001364814,0.0001096675,0.00006981165],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001989517,0.00003016772,0.001406749,0.00002520726,0.00002880856,0.00005510658,0.9085311,0.000003030068,0.000001461945,0.08630735,0.00286056,0.0007305911],"study_design_scores_gemma":[0.0008907382,0.00007501812,0.02190749,0.0001329404,0.00001387516,0.000003004891,0.9545359,0.000004630669,0.000002965008,0.01803191,0.00416564,0.0002358784],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7302723,0.008716229,0.00000175006,0.005245774,0.001326481,0.0005194661,0.0001251797,0.0001130902,0.2536797],"genre_scores_gemma":[0.9974282,0.00005205594,0.00006169998,0.0004629988,0.0006624241,0.00003567756,0.00003009387,0.00001180147,0.00125502],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2671559,"threshold_uncertainty_score":0.8259302,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001714778,0.0002577706,0.0004054575,0.0002002722,0.0002319881,0.000100186,0.0001330832,0.0000774078,0.0003285411],"category_scores_gemma":[0.000170672,0.000202539,0.00004935057,0.0001330786,0.0004753327,0.0002621065,0.00003610974,0.0002981214,0.00002330318],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004281118,"about_ca_system_score_gemma":0.00004895039,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001336015,"about_ca_topic_score_gemma":0.003479688,"domain_scores_codex":[0.9986554,0.00006188577,0.0003576695,0.0003305202,0.0002536349,0.0003409302],"domain_scores_gemma":[0.9995154,0.00007135996,0.00009733757,0.0001364814,0.0001096675,0.00006981165],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001989517,0.00003016772,0.001406749,0.00002520726,0.00002880856,0.00005510658,0.9085311,0.000003030068,0.000001461945,0.08630735,0.00286056,0.0007305911],"study_design_scores_gemma":[0.0008907382,0.00007501812,0.02190749,0.0001329404,0.00001387516,0.000003004891,0.9545359,0.000004630669,0.000002965008,0.01803191,0.00416564,0.0002358784],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7302723,0.008716229,0.00000175006,0.005245774,0.001326481,0.0005194661,0.0001251797,0.0001130902,0.2536797],"genre_scores_gemma":[0.9974282,0.00005205594,0.00006169998,0.0004629988,0.0006624241,0.00003567756,0.00003009387,0.00001180147,0.00125502],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2671559,"threshold_uncertainty_score":0.8259302,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007305258,0.0001102576,0.0001741527,0.00006712967,0.0004374961,0.0001623718,0.0001315055,0.00002409007,0.00005326307],"category_scores_gemma":[0.0002430426,0.00006741285,0.00006451314,0.00002812301,0.0001734109,0.0003553221,0.0002616695,0.0001239928,0.000008634742],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002613224,"about_ca_system_score_gemma":0.000006608924,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001531631,"about_ca_topic_score_gemma":0.00005164548,"domain_scores_codex":[0.9992712,0.00001477114,0.0002077585,0.00008656995,0.0002886826,0.0001309796],"domain_scores_gemma":[0.9990397,0.00004740464,0.0001709348,0.00002436491,0.0006622217,0.0000553729],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001374997,0.00003392568,0.01352172,0.00004856302,0.001424379,0.000301466,0.9246947,0.000008145343,0.00006268197,0.01838527,0.03302002,0.008361702],"study_design_scores_gemma":[0.00244482,0.0002719829,0.04419723,0.0004097518,0.0002526749,0.0002621792,0.7033361,0.00005086018,0.00006954148,0.00534527,0.2429878,0.000371804],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.984786,0.006975702,0.000001263428,0.001385849,0.001817884,0.00006043542,0.00004713339,0.00003484394,0.004890874],"genre_scores_gemma":[0.994657,0.001375464,0.00002619572,0.0001453755,0.001313529,8.431189e-7,0.000007935814,0.000003823024,0.002469806],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2213585,"threshold_uncertainty_score":0.336491,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00007274722,0.0003779047,0.0006287065,0.0001249272,0.0007307649,0.000271502,0.0008178015,0.0002706746,0.0004489832],"category_scores_gemma":[0.00002537156,0.0003490291,0.0006794481,0.00007367155,0.00059629,0.0006004801,0.0002097189,0.0004736071,0.00003693307],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000956022,"about_ca_system_score_gemma":0.0001550864,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001403535,"about_ca_topic_score_gemma":0.000141985,"domain_scores_codex":[0.9982461,0.0000374584,0.0004481787,0.0004220043,0.0005310266,0.0003151812],"domain_scores_gemma":[0.9981102,0.00006812799,0.0009923048,0.0004703877,0.0002486017,0.0001103776],"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":[0.0005075909,0.0005572667,0.01478929,0.002470123,0.002195227,0.001263559,0.5588927,0.00003648216,0.0004927015,0.04687679,0.3649017,0.007016581],"study_design_scores_gemma":[0.001278666,0.0001380348,0.002810471,0.002870588,0.0005264746,0.00005932665,0.1409139,0.000008592376,0.0001586319,0.0006996423,0.8494774,0.001058268],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2098755,0.0003592633,9.046684e-7,0.00007256996,0.0004857521,0.0003173361,0.0004569872,0.00006574392,0.7883659],"genre_scores_gemma":[0.4640822,0.000009636025,0.000007964671,0.0000209531,0.0004801701,2.769625e-7,0.0001026944,0.0000301563,0.5352659],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4845757,"threshold_uncertainty_score":0.9998962,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002878092,0.0001494345,0.000282571,0.00008087497,0.0009530498,0.0001017758,0.0001239151,0.00001835753,0.00008199847],"category_scores_gemma":[0.00004802732,0.0001069813,0.00003770076,0.00007902619,0.0004107236,0.00007196945,0.0001571447,0.000360614,0.00000271522],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001079108,"about_ca_system_score_gemma":0.00001863102,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004060041,"about_ca_topic_score_gemma":0.002110262,"domain_scores_codex":[0.9989442,0.0001883008,0.0002245418,0.0002344602,0.0002004556,0.0002080571],"domain_scores_gemma":[0.9996594,0.00006829022,0.00009135417,0.0001215388,0.00003879415,0.00002065699],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001643825,0.00002080497,0.02763948,0.00004037939,0.00002222872,0.00006254209,0.8106135,8.517391e-7,3.977645e-7,0.1594751,0.0003754538,0.001732849],"study_design_scores_gemma":[0.0003672481,0.00004995857,0.004398219,0.00003927746,0.00001740676,0.00001961288,0.9599065,0.000009539341,2.662213e-7,0.004109821,0.03094418,0.000138031],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6831558,0.012804,0.000007109747,0.007706328,0.0009185875,0.0007871705,0.0002879724,0.00007916776,0.2942539],"genre_scores_gemma":[0.9982343,0.000007990361,0.00002891835,0.000219579,0.0001815923,0.00008055871,0.000007316498,0.000009355227,0.001230416],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3150785,"threshold_uncertainty_score":0.7330185,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001241435,0.000135626,0.0001882496,0.00008924324,0.00008315423,0.00008577375,0.00007028062,0.00005148696,0.0002902951],"category_scores_gemma":[0.000007040993,0.0001160275,0.00001981069,0.0000284951,0.00008963186,0.0001762872,0.00003710571,0.0001255427,0.0001731544],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001554245,"about_ca_system_score_gemma":0.00002592616,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000865094,"about_ca_topic_score_gemma":0.00194966,"domain_scores_codex":[0.9992359,0.00003791562,0.0002273484,0.0001957527,0.0001047261,0.0001983085],"domain_scores_gemma":[0.9997863,0.00001622719,0.00004249297,0.00009146,0.00001282662,0.00005075957],"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":[0.00009699604,0.0004918322,0.3423738,0.000196905,0.0000814501,0.0003516172,0.543668,0.000002057088,0.0005927192,0.06426332,0.04232623,0.005555077],"study_design_scores_gemma":[0.003414329,0.0001021547,0.1230713,0.0002440527,0.00000868753,0.00002149858,0.05109406,0.00005623071,0.001040539,0.0008187358,0.8194234,0.0007050219],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8965325,0.0004435361,0.000001290112,0.0002199808,0.0001665804,0.0001423084,0.000008159801,0.00002747704,0.1024581],"genre_scores_gemma":[0.9945349,0.000006936505,0.00005942937,0.0005398145,0.0001277215,0.00001470145,0.00005447186,0.00001272591,0.004649336],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7770971,"threshold_uncertainty_score":0.4731464,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000075674,0.0001688834,0.0003491893,0.00004148633,0.0001184311,0.00002447226,0.0001427021,0.0000460647,0.0004388077],"category_scores_gemma":[0.0001692249,0.0001332199,0.00003956019,0.00007496936,0.0004586047,0.00007305168,0.00005068546,0.0001444075,0.00008255321],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001918225,"about_ca_system_score_gemma":0.00001803474,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000620122,"about_ca_topic_score_gemma":0.0005420505,"domain_scores_codex":[0.9990394,0.00003431437,0.0002926924,0.0002326827,0.0002025172,0.0001984214],"domain_scores_gemma":[0.9995995,0.00006087642,0.00009910723,0.0001008553,0.00006541989,0.00007421506],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002522075,0.00004074576,0.009857064,0.0002881858,0.00005081118,0.0000125355,0.9477643,6.325153e-7,0.0003844193,0.0009430913,0.03641397,0.004219067],"study_design_scores_gemma":[0.0003147347,0.0001711342,0.002124396,0.0001506896,0.00003276449,9.161246e-7,0.9751821,0.000004219165,0.00006358993,0.0001171361,0.02166334,0.0001750486],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9846023,0.002886438,4.984693e-7,0.001804763,0.0004060783,0.0001778549,0.0002157974,0.00005114596,0.009855064],"genre_scores_gemma":[0.9977754,0.0004002216,0.00002404827,0.0008856517,0.0004974838,0.00003415575,0.00003774793,0.0000126362,0.0003326878],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02741777,"threshold_uncertainty_score":0.543255,"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":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0002787842,0.0002417449,0.000465331,0.00008420432,0.001929392,0.00008943352,0.000471456,0.00008781048,0.003387144],"category_scores_gemma":[0.0003871872,0.0001082766,0.0004399993,0.00008303802,0.003159414,0.0001697781,0.00004481801,0.0005564552,0.00007436773],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001149539,"about_ca_system_score_gemma":0.0006453181,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002902248,"about_ca_topic_score_gemma":0.05408074,"domain_scores_codex":[0.9983285,0.0001761061,0.0005579094,0.0001217095,0.0002817759,0.0005340056],"domain_scores_gemma":[0.9982942,0.0001320884,0.000245766,0.0002572146,0.0007692896,0.0003014316],"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":[0.0000229624,0.00003341546,0.001923365,0.00006870308,0.000848347,0.0004858595,0.4133881,0.00001542137,0.00003344057,0.017536,0.5654173,0.0002270885],"study_design_scores_gemma":[0.0004303423,0.0002303282,0.00520322,0.000285267,0.0003395588,0.0006475136,0.1181049,0.000002785787,0.000313245,0.001502207,0.8727356,0.000205023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5026817,0.2033301,0.000004641925,0.1313128,0.01726418,0.0004265226,0.0005054602,0.000008927003,0.1444657],"genre_scores_gemma":[0.9510552,0.0008940136,0.00002037212,0.0008988414,0.001437416,0.000002969779,8.59769e-7,0.00002223904,0.04566812],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4483735,"threshold_uncertainty_score":0.9995534,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004764328,0.0003416952,0.0003310665,0.00007743565,0.0002822636,0.0002674184,0.000145034,0.0002231296,0.007300613],"category_scores_gemma":[0.000006429375,0.0002698662,0.0001057714,0.000003596831,0.0003922604,0.00003695901,0.00005579013,0.000362668,0.0003096235],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003914776,"about_ca_system_score_gemma":0.00006846095,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000536525,"about_ca_topic_score_gemma":0.001404442,"domain_scores_codex":[0.9990717,0.00001631355,0.000196554,0.000307516,0.0001719313,0.000235956],"domain_scores_gemma":[0.9994453,0.00002633089,0.0001146555,0.0002682559,0.00004787405,0.00009759627],"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":[0.00001563853,0.000009277045,0.00003195123,0.0001089353,0.0001053416,0.0001149565,0.08455223,1.216912e-8,0.000005559087,0.4151886,0.4955592,0.004308266],"study_design_scores_gemma":[0.0001892169,0.00005199788,0.000004905289,0.0001208122,0.00007980588,0.00001409837,0.004350159,2.09628e-7,0.000006943155,0.005525001,0.9893088,0.0003480709],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0003068165,0.0007162082,0.000001408089,0.00004174459,0.000743012,0.0002194464,0.0002262515,0.0001351271,0.99761],"genre_scores_gemma":[0.001563086,0.000006694127,0.000008026616,0.0007338568,0.004037106,0.00002193865,0.0000296092,0.00008206405,0.9935176],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4937496,"threshold_uncertainty_score":0.9999753,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001412413,0.00008395308,0.00007403809,0.0000628039,0.0002014288,0.0001902927,0.0002919526,0.00001779185,0.0006848493],"category_scores_gemma":[0.000003135415,0.0000745548,0.00003421432,0.00003411971,0.00006651199,0.0002601439,0.00003092206,0.0000749884,0.0009271867],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000265718,"about_ca_system_score_gemma":0.000003529363,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002620968,"about_ca_topic_score_gemma":0.0001494418,"domain_scores_codex":[0.9994021,0.00005796503,0.0001533288,0.0001202414,0.0001424372,0.0001239119],"domain_scores_gemma":[0.9991522,0.000005369,0.00006272513,0.000636928,0.00009172026,0.00005102533],"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":[0.000007961834,0.00003734138,0.0000244226,0.000006313686,0.00002118408,4.500228e-7,0.02866837,0.000001609158,7.024817e-7,0.66778,0.283525,0.01992659],"study_design_scores_gemma":[0.0003070609,0.00008515026,0.00006177767,0.000005843636,0.00001926799,8.009219e-7,0.1045476,0.0000418464,0.000001564307,0.02450266,0.8703355,0.00009092205],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.00839379,0.0003473471,0.0004645943,0.03949592,0.0008142745,0.0004030014,0.000005054668,0.0003565326,0.9497195],"genre_scores_gemma":[0.9457685,0.000005086192,0.0005425499,0.0007122096,0.0004906452,0.00006331396,0.0001095849,0.00001245339,0.05229565],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.9373747,"threshold_uncertainty_score":0.9998507,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004953973,0.0001019771,0.00008484272,0.00003015015,0.0001341876,0.0001914389,0.0001219395,0.00002168794,0.0009642456],"category_scores_gemma":[0.000005363478,0.0000409512,0.00003085787,0.00004347745,0.0001353339,0.0001494435,0.00002004186,0.00009506907,0.00007844796],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001165727,"about_ca_system_score_gemma":0.00001026582,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003671487,"about_ca_topic_score_gemma":0.002718466,"domain_scores_codex":[0.9994844,0.00002540881,0.00009025762,0.0001395958,0.0000925159,0.0001677907],"domain_scores_gemma":[0.9997165,0.00004282549,0.00002939009,0.0001542435,0.00002564737,0.00003134682],"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":[0.0001100064,0.0001086059,0.008402378,0.00001324405,0.00002928394,0.0000813839,0.2773443,2.252186e-7,0.0009465162,0.6665012,0.04460593,0.001856914],"study_design_scores_gemma":[0.001418671,0.0001210132,0.00315064,0.0003086696,0.00001279779,0.00001150466,0.03584361,0.000001810181,0.001983827,0.001269155,0.9555636,0.0003147202],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6841193,0.0009770249,0.000006986524,0.01120366,0.0002796786,0.0002316106,0.00005324254,0.00007656405,0.3030519],"genre_scores_gemma":[0.9489838,0.000001102051,0.000006967994,0.001007889,0.0006043614,0.00002822155,0.000008733797,0.00001049914,0.04934838],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9109576,"threshold_uncertainty_score":0.999949,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001798857,0.0002488885,0.0005896967,0.0001494405,0.0001108276,0.00003496104,0.00015222,0.00008867534,0.0003531706],"category_scores_gemma":[0.0003089549,0.0001967168,0.00008117242,0.000100609,0.0007660348,0.0001530951,0.0001101924,0.0002698522,0.00005084331],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002746333,"about_ca_system_score_gemma":0.00004760946,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002057265,"about_ca_topic_score_gemma":0.0007639587,"domain_scores_codex":[0.9985621,0.00008167762,0.0004788525,0.0002825644,0.0002406621,0.0003541219],"domain_scores_gemma":[0.9992646,0.00009220383,0.0001457867,0.0002443642,0.0001431782,0.0001098684],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001587894,0.00006744252,0.04680645,0.0002332559,0.00009727659,0.00004992269,0.9261194,5.961802e-7,0.000005665158,0.01848352,0.007901707,0.0002189],"study_design_scores_gemma":[0.001899062,0.00009514506,0.03408575,0.00033197,0.00003284143,0.000002933283,0.949936,0.00001001831,0.00004131141,0.004329484,0.008924435,0.0003110826],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9019625,0.008589602,8.449066e-7,0.001343322,0.0007153221,0.0004895362,0.0001225149,0.00003947885,0.08673684],"genre_scores_gemma":[0.997936,0.00006709882,0.00008868397,0.0001717816,0.0004634029,0.00005141422,0.00001447247,0.00002120286,0.001185935],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09597347,"threshold_uncertainty_score":0.8021877,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003333762,0.0001301345,0.0002349922,0.00004383288,0.0007310223,0.0001659208,0.0001479095,0.00002766441,0.0001247575],"category_scores_gemma":[0.00007018191,0.00007765512,0.00006774301,0.00004517957,0.0003127761,0.0001066351,0.00001620642,0.0002155211,0.000008278662],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002695486,"about_ca_system_score_gemma":0.0000332963,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005710409,"about_ca_topic_score_gemma":0.003143414,"domain_scores_codex":[0.999084,0.00006197538,0.0003363239,0.0001041772,0.0001909761,0.0002225683],"domain_scores_gemma":[0.9994931,0.0001180345,0.0001384099,0.00009388084,0.0001005043,0.00005603083],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001950086,0.00003334421,0.01842622,0.00008994529,0.0003418631,0.0005137838,0.9530571,0.000004418989,0.000003221266,0.003992708,0.00876101,0.01458144],"study_design_scores_gemma":[0.001000145,0.000130204,0.03929704,0.0003540757,0.00007591794,0.0001866471,0.6881181,7.816914e-7,0.00003809086,0.006495682,0.2640106,0.0002927111],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.884139,0.08088665,2.189211e-7,0.0009677894,0.0002400645,0.00007233851,0.000005911445,0.000007581087,0.03368045],"genre_scores_gemma":[0.9933108,0.001548576,0.00003772635,0.0001562146,0.0004679685,0.000003616541,1.689846e-7,0.00001029267,0.0044646],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2649389,"threshold_uncertainty_score":0.5622507,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001371381,0.0002168209,0.0002802483,0.0002651121,0.0006141244,0.0003529165,0.0003811148,0.0001561417,0.005541064],"category_scores_gemma":[0.001434867,0.0001325815,0.00008174185,0.0002935231,0.0003431698,0.000394622,0.0001336679,0.0006677962,0.0007335793],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002307895,"about_ca_system_score_gemma":0.0003378837,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002084232,"about_ca_topic_score_gemma":0.0004362312,"domain_scores_codex":[0.9969677,0.0003230418,0.0004025703,0.0004530623,0.000979599,0.0008740108],"domain_scores_gemma":[0.9986786,0.0004758899,0.0001093118,0.0002173235,0.0003882358,0.0001306286],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0005858255,0.0001042546,0.0173984,0.0001771451,0.0001020093,0.0006297926,0.8531375,0.000008847796,0.001045677,0.1018308,0.01127046,0.01370931],"study_design_scores_gemma":[0.01400144,0.0009713735,0.02654657,0.003999294,0.00007284557,0.0001062005,0.5370381,0.0003972292,0.002243335,0.01681449,0.3952759,0.00253315],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8763812,0.0005024362,0.00001047513,0.003833859,0.000245139,0.0006107172,0.0002121567,0.0001465718,0.1180574],"genre_scores_gemma":[0.9697491,0.000007874268,0.0001107181,0.0001115322,0.002371555,0.00005709989,0.00002466438,0.00004304902,0.02752439],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3840055,"threshold_uncertainty_score":0.995368,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009558735,0.0001244968,0.0001496651,0.00003288132,0.000390763,0.00005575209,0.00008957741,0.00009704879,0.0007233339],"category_scores_gemma":[0.00001289528,0.0001005727,0.00004199942,0.00002932183,0.0004338629,0.0001131311,0.00002082051,0.0001459794,0.000165805],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008731191,"about_ca_system_score_gemma":0.00002086785,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000003764671,"about_ca_topic_score_gemma":0.00004648166,"domain_scores_codex":[0.9993556,0.00002237142,0.00014573,0.0001975541,0.0000682547,0.0002105216],"domain_scores_gemma":[0.9997278,0.00003214592,0.00004660568,0.00009857018,0.00005603174,0.00003881441],"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":[0.0000205129,0.00003962873,0.003373889,0.00004770287,0.00008608697,0.000005540246,0.2435653,4.290226e-7,0.0000220145,0.4638206,0.2492598,0.03975844],"study_design_scores_gemma":[0.0004879672,0.00002687125,0.01570104,0.00002380534,0.00001770466,0.00002392488,0.01796526,0.000002489139,0.00002364882,0.01985706,0.9455886,0.0002816223],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5561088,0.01756145,0.0003132724,0.04556898,0.002617152,0.0002436088,0.00001914893,0.0004761337,0.3770915],"genre_scores_gemma":[0.9605405,0.0005445745,0.001047194,0.01543165,0.00136819,0.00002540596,0.00001116806,0.00001728332,0.021014],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6963288,"threshold_uncertainty_score":0.7919999,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004725099,0.0003146715,0.0005466635,0.0003690701,0.0007895352,0.0001200562,0.0001992541,0.0001455952,0.005020927],"category_scores_gemma":[0.0001308153,0.0002806326,0.0001671993,0.00006043518,0.001193377,0.0003210277,0.00002542661,0.0005071876,0.00004379104],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000865749,"about_ca_system_score_gemma":0.0007910667,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01819017,"about_ca_topic_score_gemma":0.4390529,"domain_scores_codex":[0.9981945,0.00005687056,0.0006477756,0.000191131,0.0002310614,0.0006786327],"domain_scores_gemma":[0.9980224,0.00009933268,0.0003886908,0.0001289784,0.0003959647,0.0009645679],"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":[0.00004456573,0.00002517634,0.006144194,0.0001815831,0.0007567814,0.002918477,0.2322486,0.000002591661,0.000003013095,0.008961981,0.7443821,0.004330937],"study_design_scores_gemma":[0.0008129467,0.0004218099,0.006360158,0.0004644324,0.0002587005,0.0004007294,0.1175704,6.603444e-7,0.000008175862,0.0004338988,0.8730039,0.0002641609],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.3297434,0.6073085,0.000002661445,0.01857653,0.01423416,0.0002271383,0.0003005488,0.000008688772,0.0295984],"genre_scores_gemma":[0.8718733,0.004181575,0.0001590991,0.003873469,0.006625544,0.00000374317,0.00001291077,0.00005360287,0.1132168],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6031269,"threshold_uncertainty_score":0.9999646,"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":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003087613,0.0002498963,0.0009621733,0.00008859239,0.0002154594,0.00006100013,0.0002955857,0.00002346216,0.00003502441],"category_scores_gemma":[0.00005173582,0.0001223127,0.0001265673,0.0001289917,0.003118044,0.0001146616,0.000125393,0.0002599584,0.000002331023],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003917661,"about_ca_system_score_gemma":0.00003367593,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001898504,"about_ca_topic_score_gemma":0.0003191292,"domain_scores_codex":[0.9982623,0.0001600406,0.0007120939,0.0001641319,0.0004215781,0.0002798306],"domain_scores_gemma":[0.9975096,0.0002886648,0.001441868,0.0002363797,0.0004107584,0.0001127232],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00019585,0.000221063,0.06943288,0.0001198155,0.001130758,0.000006742217,0.9092549,0.00001887571,0.0001129928,0.0006321515,0.01419205,0.004681889],"study_design_scores_gemma":[0.0007056482,0.001520147,0.09235036,0.0001697676,0.0001865724,0.00001899616,0.8884178,0.00002008872,0.00005697122,0.0004894271,0.01587089,0.0001932652],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.99004,0.001250816,9.071719e-7,0.004168312,0.00009563616,0.0002918585,0.00007303644,0.000007149045,0.004072281],"genre_scores_gemma":[0.9976357,0.000137902,0.00001387269,0.0003194672,0.0002054546,0.00001351923,3.554407e-7,0.00001914881,0.001654562],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02291748,"threshold_uncertainty_score":0.9995949,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001072338,0.0001976498,0.0001719758,0.00008136609,0.0003076131,0.0003781671,0.00008928013,0.0001666,0.0003540826],"category_scores_gemma":[0.000003324291,0.0001094103,0.00006370769,0.00001495809,0.0001793742,0.000152567,0.00001102861,0.0003529048,0.00005271354],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003362098,"about_ca_system_score_gemma":0.00003351943,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000404201,"about_ca_topic_score_gemma":0.001697927,"domain_scores_codex":[0.9992453,0.00001729087,0.0002163811,0.0001852501,0.0001329716,0.0002027823],"domain_scores_gemma":[0.9997081,0.00004485767,0.00005200456,0.0001053268,0.00003975978,0.00004991286],"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":[0.00003059057,0.00001028778,0.000008360693,0.00009827503,0.0000468566,0.00008816388,0.514995,6.381336e-8,0.000004518727,0.2646555,0.1925545,0.0275078],"study_design_scores_gemma":[0.0001932114,0.00002837638,0.00008257625,0.0002401963,0.00001783365,0.0000109297,0.02724767,0.00000121841,9.952439e-7,0.01343305,0.9585367,0.000207228],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002083631,0.004216215,7.241792e-7,0.0003067545,0.0002368545,0.0002018498,0.00003574657,0.00004667382,0.9928715],"genre_scores_gemma":[0.02342992,0.0001640832,0.000006925435,0.0009928972,0.001145234,0.0000078228,0.0001716367,0.00002059857,0.9740609],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.7659822,"threshold_uncertainty_score":0.4461625,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000106441,0.0001379169,0.0002199216,0.0002115928,0.000641267,0.0001155724,0.00004754799,0.00004007361,0.00007060516],"category_scores_gemma":[0.00002920693,0.0001195301,0.00003666834,0.00006701811,0.0001161258,0.0001367245,0.00007222959,0.0001081121,0.00006525114],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002261089,"about_ca_system_score_gemma":0.000006661869,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005991669,"about_ca_topic_score_gemma":0.0002825265,"domain_scores_codex":[0.9991983,0.00003094656,0.0001716341,0.0001968956,0.0001295867,0.0002726996],"domain_scores_gemma":[0.9997872,0.00002074525,0.00006473531,0.00005305795,0.00004652308,0.00002773863],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000009045461,0.00001350133,0.02188842,0.0001377115,0.0001091973,0.000008521537,0.9500432,0.000001194404,0.00005342444,0.0202351,0.003084491,0.004416191],"study_design_scores_gemma":[0.001684932,0.00003998545,0.2867075,0.0002421824,0.000110438,0.000002888628,0.6889592,0.0008591622,0.00003315812,0.01324182,0.007462333,0.0006563506],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9897036,0.001475382,0.00002438467,0.002364939,0.000340923,0.000176804,0.00002289177,0.0002164393,0.005674643],"genre_scores_gemma":[0.9969584,0.00008036364,0.000007341409,0.0002036686,0.0004469742,0.00003867372,0.00002822035,0.00001619236,0.002220218],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2648191,"threshold_uncertainty_score":0.4932172,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001920065,0.0001643938,0.0001715405,0.0000291958,0.0002672808,0.0002655608,0.0001369454,0.00004381943,0.001122263],"category_scores_gemma":[0.000001802383,0.0000892174,0.00009551216,0.00002094435,0.0003129278,0.0001625803,0.00001010579,0.0001492922,0.0001578456],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000657257,"about_ca_system_score_gemma":0.00001766938,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001183048,"about_ca_topic_score_gemma":0.0004988093,"domain_scores_codex":[0.9991816,0.00003712651,0.0001863929,0.0001872091,0.0001345814,0.0002731246],"domain_scores_gemma":[0.9995586,0.00004529767,0.00004643788,0.0002280038,0.00002870394,0.00009296491],"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":[0.0008295355,0.00003866996,0.0003603673,0.00001777628,0.00006621049,0.00003509676,0.5799058,4.093748e-8,0.0001830687,0.1634154,0.08418725,0.1709608],"study_design_scores_gemma":[0.00548504,0.0006197384,0.001227546,0.00003540896,0.0001234891,0.00009387609,0.05085704,0.000006730981,0.00003068497,0.04454639,0.8965672,0.0004068029],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1857791,0.0009869972,0.0000767232,0.01049504,0.001655571,0.0004259692,0.0000266649,0.0001824113,0.8003715],"genre_scores_gemma":[0.9781205,0.000001938985,0.00004330067,0.001402231,0.004023678,0.000005249734,0.000007263624,0.00001917365,0.01637663],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.81238,"threshold_uncertainty_score":0.9997908,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00004482083,0.00004480848,0.00006503612,0.00006768486,0.00008850751,0.00001697539,0.00006185409,0.00001729916,0.001301849],"category_scores_gemma":[0.00001247275,0.00003730169,0.00003041584,0.00003741492,0.00003831646,0.0002535517,0.00001143916,0.0000552215,0.00007399271],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007518183,"about_ca_system_score_gemma":0.000008467613,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006597743,"about_ca_topic_score_gemma":0.001285649,"domain_scores_codex":[0.9996762,0.000007861789,0.0001314551,0.00003912088,0.00005626279,0.00008911628],"domain_scores_gemma":[0.9998084,0.000006524437,0.00005684956,0.00007672093,0.00003858005,0.00001294533],"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":[0.000001916641,0.00001344458,0.000412803,0.00001132072,0.000004144741,3.948754e-7,0.4235752,0.000002016139,0.000004412927,0.5746971,0.0009421058,0.000335128],"study_design_scores_gemma":[0.0009047802,0.00009486401,0.00735858,0.000310208,0.00005089203,0.000007885999,0.7896095,0.0004051009,0.0004988551,0.03987356,0.1604782,0.0004076004],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04805094,0.00003080703,0.00004832758,0.0001001195,0.0001114019,0.00006599992,0.00001160879,0.00002940908,0.9515514],"genre_scores_gemma":[0.9979206,7.145542e-7,0.000353737,0.00006069799,0.00004734634,0.000006238077,0.000005420608,0.000004018849,0.001601283],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9499501,"threshold_uncertainty_score":0.9996111,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006718271,0.000145704,0.0002106481,0.00006293754,0.0003113314,0.0002253864,0.0001484487,0.00006535999,0.00008085805],"category_scores_gemma":[0.00005309123,0.00006072826,0.00004206209,0.00005352789,0.0002464505,0.0004133922,0.00002788677,0.000290639,0.000001929541],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005202927,"about_ca_system_score_gemma":0.00003897828,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008770307,"about_ca_topic_score_gemma":0.001898531,"domain_scores_codex":[0.9988118,0.000249268,0.0004441042,0.00009171933,0.0002361464,0.0001669467],"domain_scores_gemma":[0.9989655,0.0001546688,0.0004178256,0.0001472042,0.0002386027,0.00007619112],"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":[0.001359241,0.00009987895,0.009409313,0.0001686543,0.00007429547,0.00005300925,0.7345629,0.000001114552,0.003106786,0.217167,0.02927145,0.00472632],"study_design_scores_gemma":[0.005931791,0.001111289,0.04284655,0.002033609,0.000187719,0.0008379986,0.1199046,0.00002382496,0.0003693414,0.01133201,0.8149592,0.0004619848],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9515585,0.007955422,0.000008945659,0.038479,0.0005022452,0.0002434823,0.000121864,0.000009726451,0.001120825],"genre_scores_gemma":[0.9941612,0.00035481,0.0000196077,0.00370954,0.0004304989,0.000002795108,0.00001073864,0.00001118472,0.00129955],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7856878,"threshold_uncertainty_score":0.2476427,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002441451,0.0001685936,0.0002245633,0.00007472087,0.0002824754,0.0001984005,0.0003097916,0.00003904099,0.001500108],"category_scores_gemma":[0.0000750648,0.0001013831,0.0002115962,0.00005491322,0.0001353117,0.0002384731,0.00003180418,0.0003153904,0.0004924493],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001374465,"about_ca_system_score_gemma":0.00001648638,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002094072,"about_ca_topic_score_gemma":0.00003051119,"domain_scores_codex":[0.9988723,0.0001267711,0.0004041226,0.0001187171,0.0002708032,0.0002072792],"domain_scores_gemma":[0.9988404,0.000002310337,0.0003506707,0.0001616367,0.0005036768,0.0001413324],"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":[0.0001307459,0.0001695022,0.0005291058,0.00002992322,0.0002446067,0.0006188978,0.2379538,4.996039e-7,0.004268537,0.05066341,0.7033438,0.002047161],"study_design_scores_gemma":[0.0005762063,0.0004619231,0.0003645167,0.0000984569,0.00007300406,0.0002817495,0.01150934,0.000001273122,0.0001164484,0.0002809729,0.9860814,0.0001547317],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1264496,0.002726142,0.0000788707,0.001343008,0.003558226,0.0001440072,0.00004994088,0.00009160113,0.8655586],"genre_scores_gemma":[0.9450544,0.00002597946,0.0002082994,0.0009893007,0.0125751,2.056581e-7,0.000009078379,0.00003387745,0.04110377],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8244548,"threshold_uncertainty_score":0.9994127,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000134446,0.00007860368,0.0001646259,0.00006300656,0.00005294131,0.0000252829,0.0001354076,0.00004861409,0.0003729815],"category_scores_gemma":[0.00006037284,0.00003462737,0.00009586296,0.0000324556,0.0000641363,0.0001301073,0.00001681492,0.0001273901,0.00001187828],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001375344,"about_ca_system_score_gemma":0.00003401587,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000237623,"about_ca_topic_score_gemma":0.0001207502,"domain_scores_codex":[0.9993302,0.0000358078,0.0002951308,0.00006100993,0.0001731221,0.0001047665],"domain_scores_gemma":[0.9994571,0.00002849306,0.0002833041,0.00008385908,0.0001041417,0.00004316389],"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":[0.0004403966,0.0002749301,0.008913994,0.0001402936,0.0002132288,0.00007944356,0.1206756,0.00003422207,0.01206356,0.1680358,0.678994,0.01013449],"study_design_scores_gemma":[0.003725454,0.0004628706,0.007758957,0.00166996,0.00008600142,0.0001604385,0.009526655,0.00001827379,0.00404847,0.009228089,0.9630337,0.0002810874],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9638389,0.003076815,0.000001734175,0.004809503,0.0005737857,0.00008240982,0.00001314314,0.000005034234,0.02759865],"genre_scores_gemma":[0.9875057,0.0002624785,0.000007363839,0.000276204,0.0002986142,7.130988e-7,9.521786e-8,0.000007950686,0.01164084],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2840397,"threshold_uncertainty_score":0.4083886,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001553459,0.0002092727,0.00034498,0.00005672441,0.000268865,0.00005615725,0.0001815356,0.00006135565,0.0001143785],"category_scores_gemma":[0.000215271,0.0001206117,0.00007065477,0.00008486079,0.0006592484,0.0001061501,0.00005041412,0.000261832,0.00001070012],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001608454,"about_ca_system_score_gemma":0.00001507643,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009470602,"about_ca_topic_score_gemma":0.0001950679,"domain_scores_codex":[0.9988949,0.00005466997,0.0003168625,0.000227654,0.0002118389,0.0002940329],"domain_scores_gemma":[0.9994881,0.00004918572,0.0001117412,0.000200621,0.00009565474,0.00005467962],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001364304,0.00001866357,0.001309698,0.00003295894,0.00004247326,0.000009274509,0.9840843,0.000001442168,0.000007431604,0.008293971,0.004826726,0.001359432],"study_design_scores_gemma":[0.0004495019,0.00008927374,0.003105656,0.0001253378,0.00004388241,0.00000305483,0.9861325,0.000008819358,0.000009702135,0.0008894301,0.008989487,0.0001533374],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6537209,0.03940409,0.000004445294,0.005202306,0.002926323,0.001032955,0.0003323155,0.0001781254,0.2971986],"genre_scores_gemma":[0.9977027,0.00006496197,0.00005606331,0.0004400602,0.0007024106,0.00001347167,0.00001032917,0.0000109443,0.0009990655],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3439818,"threshold_uncertainty_score":0.4918401,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001321023,0.00007439843,0.0001509087,0.00002334181,0.0004838743,0.00006067943,0.0001187914,0.00001795488,0.0001684533],"category_scores_gemma":[0.0001201352,0.00003534345,0.00008461546,0.00003380179,0.0002401777,0.0002173625,0.000005979096,0.00006774727,0.000008506405],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004189398,"about_ca_system_score_gemma":0.00006226179,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008225457,"about_ca_topic_score_gemma":0.04481378,"domain_scores_codex":[0.9993932,0.00002652207,0.0002391175,0.00002829445,0.0001158214,0.0001970061],"domain_scores_gemma":[0.9991364,0.00002191933,0.0001829818,0.00005053703,0.0004703303,0.0001378466],"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":[0.00001315306,0.00001049577,0.009814408,0.00002786756,0.0003988856,0.000004930345,0.3306012,0.000003877112,0.000016244,0.5088934,0.1468993,0.003316335],"study_design_scores_gemma":[0.0001394486,0.00004606791,0.003764335,0.00003980889,0.00005746678,0.00002165774,0.1461281,1.769754e-7,0.00005019779,0.0006925356,0.8489966,0.00006364725],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7704824,0.09546731,0.00000222855,0.006986759,0.004850851,0.0001565988,0.0000361321,0.00001035061,0.1220073],"genre_scores_gemma":[0.9933013,0.0001548792,0.00001200048,0.0001157337,0.001234837,8.518354e-7,8.210016e-7,0.000003226283,0.005176342],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7020973,"threshold_uncertainty_score":0.9726159,"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":"codex-gemma-dda1882f352a","candidate_categories":["sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001066937,0.0004434751,0.0002995764,0.00002788154,0.00188908,0.001694831,0.0004977899,0.0001429932,0.0026375],"category_scores_gemma":[0.0001765879,0.0002193259,0.0003280665,0.0001066948,0.001138126,0.001233476,0.00009992632,0.0008953552,0.0004516396],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005649234,"about_ca_system_score_gemma":0.00002952319,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004419954,"about_ca_topic_score_gemma":0.003025316,"domain_scores_codex":[0.9981372,0.00005689585,0.0002928685,0.0005650317,0.0003787635,0.0005691791],"domain_scores_gemma":[0.9984683,0.0001002461,0.0001500664,0.0004041554,0.0007575476,0.0001196421],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003043434,0.0001308809,0.0002113401,0.00001702333,0.0001249695,0.00001000523,0.8878921,0.000008340994,0.00416176,0.08878316,0.01856061,0.00006942403],"study_design_scores_gemma":[0.0006146617,0.00004763406,0.001712172,0.00001935601,0.00006414778,0.0000369745,0.5601622,0.00006930091,0.0004318516,0.0002270048,0.4362182,0.0003964987],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8691291,0.0007280363,0.000001332168,0.01281524,0.001919465,0.0005161648,0.00006038801,0.0004652601,0.1143651],"genre_scores_gemma":[0.9706379,0.00003041453,0.0005611026,0.0008063354,0.003534996,0.00005660093,0.00002369499,0.00003376343,0.02431515],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4176576,"threshold_uncertainty_score":0.9994103,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005181661,0.000122075,0.0001972602,0.00001751354,0.0001999183,0.00002595079,0.0001810594,0.00005579,0.002121455],"category_scores_gemma":[0.000005368316,0.00009949053,0.00009593102,0.00001183092,0.0002550069,0.0003022323,0.00002574272,0.00008265708,0.00000839089],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002959362,"about_ca_system_score_gemma":0.00001124719,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004023198,"about_ca_topic_score_gemma":0.01187247,"domain_scores_codex":[0.9993197,0.00004170924,0.0001384246,0.0001680999,0.0001629105,0.0001691844],"domain_scores_gemma":[0.9994361,0.00003683104,0.0001157186,0.0001868599,0.0001563144,0.00006817955],"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":[0.0001229745,0.0001108936,0.0007348888,0.00003465842,0.00007897675,0.00002239419,0.9581072,6.208538e-7,0.0001081384,0.01492946,0.0139017,0.01184804],"study_design_scores_gemma":[0.0006748151,0.0006963154,0.001341694,0.0000327918,0.00007256775,0.000004227367,0.346991,0.0000252215,0.00001850508,0.0001601191,0.6498209,0.0001618292],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8813961,0.0008001906,0.00003664957,0.000252048,0.0003366518,0.0001516375,0.0000445368,0.00003423247,0.1169479],"genre_scores_gemma":[0.9930004,0.0000247546,0.00005541245,0.00007270796,0.0001798074,1.126374e-7,0.000007959879,0.00000728367,0.006651515],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6359192,"threshold_uncertainty_score":0.9987907,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00006920081,0.0001733281,0.0001799872,0.0001603326,0.0001300027,0.00002470309,0.0001627418,0.00003798499,0.002494859],"category_scores_gemma":[0.00001291627,0.0001336975,0.0001049077,0.00002862044,0.0001383594,0.00009516004,0.00001522207,0.0002202317,0.0002984188],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000146166,"about_ca_system_score_gemma":0.00002739243,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007808924,"about_ca_topic_score_gemma":0.001305563,"domain_scores_codex":[0.9990986,0.00004076538,0.0001792226,0.000218176,0.0001433575,0.0003198516],"domain_scores_gemma":[0.9996575,0.0000239584,0.00004490653,0.0001851992,0.00001954923,0.00006893374],"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":[0.0001264243,0.0001405221,0.0004051287,0.00006384193,0.0000300942,0.0001639824,0.6064286,0.00006743646,0.0009607344,0.06864856,0.1710931,0.1518716],"study_design_scores_gemma":[0.00036685,0.0001049549,0.002067296,0.00006377805,0.00001193065,0.00001688267,0.002918455,0.00003037501,0.00003275144,0.003411032,0.9907057,0.0002699571],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3062031,0.006334492,0.000009141019,0.001838821,0.0008653479,0.0002229871,0.000007700545,0.0002269715,0.6842915],"genre_scores_gemma":[0.9377356,0.000005112034,0.00006192669,0.002226085,0.0006480779,0.000009984047,0.00001377799,0.00001418378,0.05928526],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8196127,"threshold_uncertainty_score":0.998417,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002864883,0.0002099659,0.0003571463,0.000147131,0.0001733757,0.0001333045,0.0001936759,0.00004489581,0.0004873041],"category_scores_gemma":[0.00001611617,0.0001345184,0.00008663563,0.00015888,0.0001060419,0.0001134538,0.00001774194,0.0003028655,0.0001631079],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001706597,"about_ca_system_score_gemma":0.0001618429,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04041489,"about_ca_topic_score_gemma":0.9709183,"domain_scores_codex":[0.9988446,0.00008300737,0.0003013178,0.0002569213,0.00009425626,0.0004199014],"domain_scores_gemma":[0.9993898,0.0000281115,0.00005660682,0.0002975586,0.00001991446,0.0002079914],"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":[0.00002734771,0.0001386119,0.01277532,0.006779973,0.0001531621,0.00207701,0.3128104,0.000041393,0.000004435141,0.1606063,0.1373912,0.3671948],"study_design_scores_gemma":[0.0003683098,0.00002352101,0.0005518245,0.009166566,0.00004761608,0.00001922776,0.0382961,0.000001958185,9.704037e-7,0.002619694,0.9486254,0.0002787863],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01476299,0.2581953,1.909105e-7,0.09220784,0.0002206989,0.001598923,0.00008547001,0.00004385341,0.6328848],"genre_scores_gemma":[0.9777865,0.007690831,0.00001212557,0.01059401,0.0004473781,0.00005567191,0.00001619661,0.00003248468,0.00336484],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9630235,"threshold_uncertainty_score":0.965975,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003341926,0.0002896923,0.0004611448,0.0001147935,0.00009854488,0.0000916069,0.0002263081,0.0002347034,0.1220981],"category_scores_gemma":[0.000007778289,0.0002010159,0.0002156099,0.000008896763,0.0002279634,0.00007965096,0.00002994139,0.0002571201,0.003914971],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002581506,"about_ca_system_score_gemma":0.0001417589,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007438054,"about_ca_topic_score_gemma":0.0005203571,"domain_scores_codex":[0.9990382,0.00001077315,0.0003306732,0.0002228272,0.0001986538,0.000198924],"domain_scores_gemma":[0.999191,0.00002267098,0.000199348,0.0003197933,0.0001779033,0.00008930964],"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":[0.000002514968,0.00001309571,0.000003619846,0.0001758769,0.00006618267,0.000005091439,0.02430304,4.638922e-8,0.000001562859,0.1983801,0.7764053,0.0006435671],"study_design_scores_gemma":[0.0002266938,0.00006377079,0.000003056368,0.0004110701,0.00005922536,0.000002665455,0.002144634,5.297872e-7,0.00003168172,0.007012149,0.9897737,0.0002708212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00002035416,0.001698318,0.000002303434,0.0000884845,0.0005163038,0.000307426,0.00007334776,0.00007880386,0.9972147],"genre_scores_gemma":[0.0007920677,0.0000244282,0.00002654334,0.0003005447,0.002241121,0.00001950054,0.0001825064,0.00004805766,0.9963652],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2133684,"threshold_uncertainty_score":0.9968606,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002502538,0.0001042844,0.0001198473,0.00003517533,0.0002352834,0.00007481919,0.0007510305,0.0000292363,0.000198121],"category_scores_gemma":[0.0002411933,0.00006042471,0.00009534971,0.00003426807,0.0002517418,0.0001187695,0.0001231449,0.0002479528,0.00002879115],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002498319,"about_ca_system_score_gemma":0.00001640151,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008251009,"about_ca_topic_score_gemma":0.00006769741,"domain_scores_codex":[0.998977,0.0002157374,0.0002653863,0.0000923547,0.0003602459,0.00008925225],"domain_scores_gemma":[0.9987584,0.0002569485,0.0003049617,0.0004298668,0.0002308353,0.00001896963],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005882089,0.0001680371,0.00748267,0.00003131575,0.0001730014,0.000001262803,0.6054488,0.00003325425,0.0005589955,0.3822688,0.002261776,0.001513344],"study_design_scores_gemma":[0.002521793,0.0007687594,0.01868583,0.001147454,0.0003099895,0.00001032168,0.6416116,0.0003610566,0.007937002,0.008700704,0.317433,0.0005124896],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7606815,0.0004592692,0.00004296938,0.007774656,0.0004759647,0.0004123948,0.00002378915,0.00004026596,0.2300892],"genre_scores_gemma":[0.9956963,0.00001897078,0.0000368177,0.0004601123,0.0001242765,0.00007008507,0.00002605269,0.00001195572,0.003555399],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.373568,"threshold_uncertainty_score":0.2464048,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}