{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":15,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":15,"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":"a0a6fbd6e22a","filters":{"venue":"Film & history"}},"results":[{"id":"W343431316","doi":"10.1353/flm.2000.a400654","title":"Quantum Leap: The Postmodern Challenge of Television as History","year":2000,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Postmodernism; Dream; History; Art history; Paradise; Aesthetics; Sociology; Psychoanalysis; Philosophy; Art; Literature; Psychology","authors":[{"name":"Robert Hanke","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03923618686519431,"gpt":0.2062426798085687,"spread":0.1670064929433744,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002642395,0.0001393205,0.0003596825,0.0001053579,0.00006676314,0.000002050397,0.0002367634,0.00008150558,0.01055549],"category_scores_gemma":[0.00008023532,0.0001279006,0.0001534931,0.00004351953,0.0001841331,0.00008309897,0.00003427536,0.000165613,0.001954783],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006620431,"about_ca_system_score_gemma":0.00006225445,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000507543,"about_ca_topic_score_gemma":0.00005859162,"domain_scores_codex":[0.9990093,0.00001575602,0.0004179877,0.0002850557,0.00005960936,0.0002122775],"domain_scores_gemma":[0.9992248,0.00006369613,0.0002034265,0.0004265669,0.00002749417,0.00005402002],"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":[0.0001082223,0.0003294403,0.0009795803,0.0001209633,0.00009814642,0.00001591251,0.02841648,0.00002461398,0.00008380957,0.1049465,0.8413405,0.02353576],"study_design_scores_gemma":[0.0002731738,0.0001232533,0.002777922,0.0000164874,0.000008040848,0.000002360951,0.00009323257,0.0002301168,0.000004110791,0.002287591,0.9940349,0.0001488144],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1235186,0.2831385,0.00001830615,0.002183391,0.002319278,0.0002237765,0.00003580608,0.00005611839,0.5885062],"genre_scores_gemma":[0.8955536,0.008678561,0.00003749056,0.0007618496,0.000250623,0.00003007762,0.000009427002,0.00003390573,0.0946444],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7720351,"threshold_uncertainty_score":0.9988223,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W342068524","doi":"","title":"Where's George?","year":2008,"lang":"en","type":"article","venue":"Film & history","topic":"American Political and Social Dynamics","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"George (robot); Politics; Art history; Parallels; Movie theater; Film director; White (mutation); Shot (pellet); History; Sociology; Art; Media studies; Law; Political science","authors":[{"name":"Ron Briley","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02791627186226956,"gpt":0.1897066859761388,"spread":0.1617904141138692,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00002394346,0.00007658494,0.0001163578,0.00002588347,0.000245665,0.000005057644,0.00008767642,0.00002726363,0.01499075],"category_scores_gemma":[0.00001344677,0.00007201624,0.00007395332,0.000007779362,0.0008612708,0.00006984027,0.00001761608,0.0001003022,0.0009496597],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002222342,"about_ca_system_score_gemma":0.0000899539,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001120581,"about_ca_topic_score_gemma":0.0004199807,"domain_scores_codex":[0.9994732,0.0000190504,0.0001018534,0.0001039786,0.0001108056,0.0001911179],"domain_scores_gemma":[0.9997206,0.0000235186,0.0000308849,0.0001067084,0.00004187276,0.00007646187],"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":[0.000002465764,0.00002749909,0.00005565741,0.000006574278,0.000005970606,0.00001456838,0.02041988,3.317235e-7,0.000002576107,0.5364721,0.442752,0.0002404297],"study_design_scores_gemma":[0.0000600915,0.00002609235,0.0002733177,0.000003747749,0.000005358724,0.000002395448,0.0006857979,0.00004479943,3.218585e-7,0.0006824829,0.998108,0.0001076541],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02043913,0.001118331,0.00002029308,0.0002671164,0.001098547,0.00003964059,0.00002624234,0.0001202938,0.9768704],"genre_scores_gemma":[0.3022745,0.00006067066,0.00004747412,0.001783924,0.0009318676,0.000007660781,0.0000107394,0.0000175113,0.6948656],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.555356,"threshold_uncertainty_score":0.9998282,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1950012408","doi":"","title":"Screen Jesus: Portrayals of Christ in Television and Film by Peter Malone (review)","year":2015,"lang":"en","type":"article","venue":"Film & history","topic":"Historical and Religious Studies of Rome","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Passion; Theology; Art history; Wright; Art; Subject (documents); Superstar; Temptation; Philosophy","authors":[{"name":"Phil Robins","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02738004221287026,"gpt":0.2115734465374254,"spread":0.1841934043245552,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002365644,0.0001525503,0.0004153874,0.00007548036,0.00007434328,0.000004332542,0.0001225427,0.0000491093,0.0008478103],"category_scores_gemma":[0.00005692778,0.0001212582,0.00007321512,0.00002545042,0.0003320366,0.00007831798,0.00006240149,0.0001349973,0.00008767359],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002536296,"about_ca_system_score_gemma":0.00004364394,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001988389,"about_ca_topic_score_gemma":0.0004602616,"domain_scores_codex":[0.9989449,0.00004015563,0.000362378,0.0002163109,0.0002397044,0.0001965076],"domain_scores_gemma":[0.9994348,0.0000334574,0.0001367584,0.0001788318,0.000103078,0.000113075],"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":[0.00001659925,0.00007348063,0.0001403972,0.0002346001,0.00001033083,0.00001181822,0.003739509,2.850056e-7,0.00004343702,0.0004808818,0.9943504,0.000898287],"study_design_scores_gemma":[0.0003289961,0.0001763435,0.0001590276,0.0003732661,0.00002353918,0.000002468149,0.0001574789,0.000004474829,0.000005533399,0.00004827086,0.9985558,0.0001648371],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.009157757,0.6654288,0.000002686204,0.0002927205,0.0006380951,0.0002420281,0.00008812991,0.0000427576,0.3241071],"genre_scores_gemma":[0.4891771,0.1079086,0.0004648074,0.004892529,0.001260572,0.0001220265,0.0002441268,0.0001354734,0.3957947],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.5575201,"threshold_uncertainty_score":0.9282928,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1524735725","doi":"","title":"The Day I was Not Born (review)","year":2012,"lang":"en","type":"article","venue":"Film & history","topic":"German History and Society","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"German; Movie theater; Nazism; Politics; Ideology; Appeal; Feature film; Film director; Art history; Film studies; Art; Literature; History; Sociology; Law; Political science","authors":[{"name":"Ulrich Bach","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0433155530663496,"gpt":0.2121143046037323,"spread":0.1687987515373827,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006960282,0.0001153327,0.0001377527,0.00001262179,0.0006803772,0.0000104349,0.0002044844,0.000034131,0.009315513],"category_scores_gemma":[0.00004554941,0.00008194165,0.00016009,0.000008949809,0.0003699974,0.0001783885,0.00002978297,0.0001867895,0.001985861],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003469686,"about_ca_system_score_gemma":0.00004957991,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003451199,"about_ca_topic_score_gemma":0.00007406039,"domain_scores_codex":[0.9991447,0.0001137801,0.0001737293,0.0001074449,0.0001741453,0.0002861775],"domain_scores_gemma":[0.9993632,0.00009837755,0.00008211473,0.0003215317,0.00004991298,0.00008485089],"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":[0.000001721749,0.00002454074,0.00001248812,0.00005240176,0.00001076606,5.874616e-7,0.03599738,4.539121e-8,0.000009297082,0.05368025,0.9093204,0.0008900872],"study_design_scores_gemma":[0.00005258648,0.000009820848,0.0002419693,0.00003666736,0.00002950195,0.000001011977,0.0004923726,0.000002114273,0.000003374713,0.00002179338,0.9989828,0.0001260127],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001247888,0.2873371,0.000003358221,0.0006886255,0.008134929,0.0001744214,0.000019715,0.0001192627,0.7022747],"genre_scores_gemma":[0.1643354,0.004857637,0.00001763521,0.0112809,0.002807013,0.00007629086,0.00002797379,0.00003818914,0.816559],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2824795,"threshold_uncertainty_score":0.9987912,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W208476176","doi":"","title":"The Unseen Alistair Cooke","year":2010,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Shot (pellet); Art; Art history; Lunatic; Wife; Procession; Visual arts; History; Archaeology; Law","authors":[{"name":"Tony Osborne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02201155486457304,"gpt":0.1897256336066506,"spread":0.1677140787420776,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002481549,0.00008067981,0.0001561043,0.00004781218,0.0001719193,0.00001027926,0.0001771177,0.00005265234,0.0008270227],"category_scores_gemma":[0.0001708319,0.00007114608,0.00007151574,0.00003957706,0.0001647659,0.00004694372,0.00003604206,0.0001878014,0.001209337],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001195506,"about_ca_system_score_gemma":0.00002891189,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002059184,"about_ca_topic_score_gemma":0.0007826469,"domain_scores_codex":[0.9993929,0.000003965599,0.0002184397,0.0001730219,0.00002338624,0.0001882931],"domain_scores_gemma":[0.9994282,0.00007338665,0.0001123859,0.000312397,0.0000205135,0.00005308985],"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":[0.000005491171,0.00001791179,0.005006261,0.00000603465,0.00001744606,0.000002655017,0.000861417,3.257733e-7,0.00006410269,0.2332206,0.7601661,0.0006316842],"study_design_scores_gemma":[0.0001522429,0.00001392754,0.01323624,0.000001396287,0.000002471107,0.000001429506,0.00005335319,0.00003621606,0.00001371841,0.002402715,0.9839892,0.00009702359],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.09825704,0.03295851,0.00007783558,0.00390615,0.01377631,0.0002370078,0.00008643006,0.0001151615,0.8505856],"genre_scores_gemma":[0.6470087,0.0008920515,0.0001791455,0.001400883,0.0008642802,0.00007958474,0.00001514154,0.00003653023,0.3495237],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5487517,"threshold_uncertainty_score":0.9995683,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W287986760","doi":"","title":"Shooting Women (2008)","year":2012,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Photography; Film industry; Power (physics); Cinematography; Sociology; Visual arts; Media studies; Gender studies; Art; Movie theater","authors":[{"name":"Monika Raesch","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03845350793622113,"gpt":0.1941114356041143,"spread":0.1556579276678931,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003204388,0.00008675376,0.0002211213,0.0001042583,0.00006065786,0.000003443701,0.00008354094,0.00004406474,0.003175924],"category_scores_gemma":[0.0001397109,0.000103156,0.00005137825,0.00005210518,0.00004232389,0.0001346654,0.00003979363,0.00009020953,0.002513786],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007281711,"about_ca_system_score_gemma":0.0000145928,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005344566,"about_ca_topic_score_gemma":0.000006797777,"domain_scores_codex":[0.9992128,0.000004548298,0.0002286666,0.0001477586,0.00002139651,0.0003848173],"domain_scores_gemma":[0.9995643,0.00002627022,0.0001117696,0.0001715597,0.0000101748,0.0001159404],"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":[0.000007761705,0.0001138347,0.1582965,0.00004462203,0.00004770505,0.000002457885,0.02348294,0.000002072936,0.00004982947,0.03460583,0.781741,0.001605424],"study_design_scores_gemma":[0.0001538916,0.00001457895,0.03352967,0.000003570754,0.000001749323,0.000001405156,0.000269382,0.00001501866,0.00000654517,0.0002828265,0.9655938,0.0001275468],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3716364,0.08595695,0.000138414,0.0003297994,0.006914421,0.0001232456,0.00003263148,0.0001039646,0.5347642],"genre_scores_gemma":[0.9403784,0.0001984008,0.0002604895,0.0006050766,0.0006878441,0.00004928062,0.0000050863,0.00002014091,0.05779523],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5687421,"threshold_uncertainty_score":0.9982629,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3127474980","doi":"","title":"A Walk to Beautiful (2007)","year":2011,"lang":"en","type":"article","venue":"Film & history","topic":"Ureteral procedures and complications","field":"Medicine","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Childbirth; Dignity; Medicine; Shame; Humiliation; Vagina; Nursing; Gender studies; Surgery; Sociology; Psychology; Pregnancy; Law; Social psychology","authors":[{"name":"Heather McIntosh","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05893541805658527,"gpt":0.2412961354762929,"spread":0.1823607174197076,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00003573767,0.00006938,0.0001026366,0.00005990737,0.00003540483,0.000001341094,0.00008229558,0.00003952635,0.005213196],"category_scores_gemma":[0.00002724194,0.00006428433,0.00005183761,0.00005105381,0.00002812821,0.00002541231,0.00002359968,0.00009028484,0.001423973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002170853,"about_ca_system_score_gemma":0.0001037366,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001241224,"about_ca_topic_score_gemma":0.00001207665,"domain_scores_codex":[0.9994944,0.000005777321,0.0001039427,0.0001616204,0.00009421129,0.0001400655],"domain_scores_gemma":[0.9994504,0.000004764442,0.00002254273,0.0003018495,0.0000563646,0.0001640621],"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":[0.00005699463,0.0001061945,0.0005568404,0.00002132053,0.0000153281,0.00001161535,0.002192781,2.013976e-7,0.0020105,0.001491415,0.9918093,0.001727473],"study_design_scores_gemma":[0.0001614949,0.0001715736,0.0381234,0.00002032444,0.00002788962,0.00002778554,0.00002454759,0.00002133768,0.0001311816,0.0001272088,0.9610843,0.00007892722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08231832,0.003293562,0.0008302684,0.001641504,0.001032375,0.0005157458,0.000009870646,0.0002823299,0.910076],"genre_scores_gemma":[0.8653947,0.00000887816,0.005286678,0.01019831,0.0002660582,0.00008877002,0.00001643622,0.00002757476,0.1187126],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7913634,"threshold_uncertainty_score":0.9993535,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1553265448","doi":"","title":"Moscow Believes in Tears: Russians and Their Movies","year":2012,"lang":"en","type":"article","venue":"Film & history","topic":"Eastern European Communism and Reforms","field":"Social Sciences","cited_by":0,"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; Publicity; Economic history; State (computer science); Quarter (Canadian coin); Film industry; Political science; Art; Art history; History; Media studies; Law; Sociology","authors":[{"name":"Denise J. Youngblood","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02677151108533641,"gpt":0.2419061967953435,"spread":0.2151346857100071,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004435527,0.00007390793,0.00009579331,0.00005464735,0.0001742161,0.00001052632,0.0001797015,0.00004989674,0.0001709148],"category_scores_gemma":[0.00002958177,0.00005216337,0.00002445896,0.00004796234,0.0003418152,0.0002819166,0.00006705379,0.0001367622,0.00008629736],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001677276,"about_ca_system_score_gemma":0.00005567969,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001078571,"about_ca_topic_score_gemma":0.001273719,"domain_scores_codex":[0.9993216,0.0001547671,0.00009598725,0.00008027248,0.00009421194,0.0002531063],"domain_scores_gemma":[0.9996786,0.00003156661,0.0000356871,0.00015343,0.000008048037,0.00009268425],"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":[0.0000155024,0.0002243919,0.08245176,0.00003764768,0.00001522048,0.000007056912,0.8299304,0.000001484922,0.0004810095,0.01900604,0.02124279,0.04658666],"study_design_scores_gemma":[0.00008460571,0.00001184265,0.05382709,0.00002222351,0.000001604138,8.703417e-7,0.01107698,0.000003037377,0.000006473609,0.0001240746,0.9347498,0.00009143553],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4728769,0.01679404,0.000008231414,0.0003355865,0.0006996577,0.00009291645,0.000004950327,0.00006664689,0.5091211],"genre_scores_gemma":[0.9644186,0.0005233131,0.00008673572,0.0002488185,0.0002003279,0.000003604499,0.000001592265,0.00001177015,0.03450521],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.913507,"threshold_uncertainty_score":0.2127161,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1994039481","doi":"10.1353/flm.0.0085","title":"The Big Six","year":2009,"lang":"en","type":"article","venue":"Film & history","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":0,"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; Film industry; Music industry; Sociology; Art history; Media studies; Law; Movie theater; Advertising; Visual arts; Art; Political science; Business","authors":[{"name":"Victor P. Corona","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05449556925249487,"gpt":0.2584290896834922,"spread":0.2039335204309973,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002087456,0.00004473723,0.00004517845,0.000009632524,0.000618663,0.00002301454,0.0001710737,0.00004982865,0.0007516448],"category_scores_gemma":[0.00008118992,0.00003007824,0.00003246197,0.00006347203,0.0001500459,0.00004048047,0.000009335306,0.00008929034,0.0001347157],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006207292,"about_ca_system_score_gemma":0.0002694048,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007965714,"about_ca_topic_score_gemma":0.002053495,"domain_scores_codex":[0.9994388,0.00003612805,0.00007862923,0.00008077313,0.0001859322,0.0001797531],"domain_scores_gemma":[0.9997494,0.00003299805,0.00003249136,0.00008786639,0.00003703533,0.00006018709],"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":[0.000001897478,0.000005195456,0.00004141394,1.464855e-7,0.000001548303,0.000001395537,0.003378312,2.742702e-7,0.00001725062,0.004587633,0.9176013,0.07436359],"study_design_scores_gemma":[0.00003440522,0.00001146049,0.003885026,0.000002756801,0.000001753267,1.947112e-7,0.00118615,8.93057e-7,0.000007008208,0.0001919995,0.9946215,0.00005682735],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01070078,0.00567251,0.000004279842,0.03026849,0.003166351,0.0001478331,0.000001214913,0.0001150722,0.9499235],"genre_scores_gemma":[0.1325034,0.0001879832,0.00002865384,0.001173751,0.0005280139,0.000004200187,0.000001642279,0.000002554807,0.8655698],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1218026,"threshold_uncertainty_score":0.8229983,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4380667857","doi":"10.1353/flm.2018.0009","title":"Music for Silent Film: A Guide to North American Resources by Kendra Preston Leonard (review)","year":2018,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Silence; Movie theater; Exhibition; Media studies; Visual arts; History; Art history; Art; Sociology; Aesthetics","authors":[{"name":"Tim Shorkey","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03005073601640003,"gpt":0.2325961407888636,"spread":0.2025454047724636,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001910846,0.000191484,0.0005586149,0.0001383231,0.0001233575,0.000006019665,0.0002550832,0.00003080459,0.0007251632],"category_scores_gemma":[0.0003654434,0.0002137975,0.0001535361,0.000162026,0.0002057475,0.00005948982,0.00008207167,0.00008052613,0.0007752724],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004333986,"about_ca_system_score_gemma":0.00003471277,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006982458,"about_ca_topic_score_gemma":0.001634179,"domain_scores_codex":[0.998585,0.00001143277,0.0005062443,0.0004834772,0.00005485604,0.0003589435],"domain_scores_gemma":[0.9989881,0.00006872146,0.0003056564,0.0004148766,0.00007224021,0.0001504273],"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":[0.00002255087,0.00004376207,0.002303263,0.0001283686,0.00003170312,9.992594e-7,0.002029682,0.000001577351,0.00001600185,0.0001414193,0.991887,0.003393683],"study_design_scores_gemma":[0.0002336276,0.0003704419,0.01259652,0.00006190014,0.00001791681,9.234306e-7,0.00009761166,0.0000368239,0.00001183005,0.00001772378,0.9862938,0.0002609132],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.3161567,0.4895353,0.001477551,0.00833712,0.007025939,0.003164379,0.002432893,0.0003120368,0.1715581],"genre_scores_gemma":[0.2157804,0.05803199,0.0120189,0.0778603,0.006461819,0.004772179,0.0006069847,0.000440863,0.6240266],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.4524685,"threshold_uncertainty_score":0.9964818,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2067174669","doi":"10.1353/flm.2010.0003","title":"The Unseen Alistair Cooke (review)","year":2010,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Lunatic; Shot (pellet); Art history; Procession; Performance art; Visual arts; Cartography; History; Archaeology; Geography; Law","authors":[{"name":"Tony Osborne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0234145856824832,"gpt":0.2031688694118291,"spread":0.1797542837293459,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003684926,0.00009433783,0.0002288555,0.0000380135,0.0001441316,0.00000521554,0.0002062799,0.00004499126,0.001329067],"category_scores_gemma":[0.000268737,0.00008053833,0.00009802343,0.00004845614,0.0001486354,0.00004463801,0.00003941154,0.0002020126,0.001522216],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001159429,"about_ca_system_score_gemma":0.00003211133,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001286229,"about_ca_topic_score_gemma":0.0004473976,"domain_scores_codex":[0.999294,0.000005994417,0.0002891739,0.0001890382,0.00002818244,0.0001936264],"domain_scores_gemma":[0.9993145,0.00007460099,0.0001528867,0.0003732569,0.00002686858,0.00005791703],"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":[0.000002151664,0.00001381608,0.001243182,0.00004273255,0.0000141243,0.000001928624,0.0002115703,7.178311e-8,0.00001661395,0.06721171,0.9302543,0.0009878036],"study_design_scores_gemma":[0.0001194511,0.00001281138,0.00598395,0.00001595445,0.000005458417,0.000001930768,0.00001780716,0.00001338067,0.000005001865,0.0008256545,0.9928901,0.0001085174],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.005745749,0.5157155,0.00002799819,0.004580997,0.007392051,0.0002781274,0.00006285895,0.00006980524,0.4661269],"genre_scores_gemma":[0.1349868,0.1589937,0.0003791638,0.01333912,0.00183905,0.0003876548,0.0000609221,0.0001018341,0.6899118],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.3567219,"threshold_uncertainty_score":0.9995838,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4380667202","doi":"10.1353/flm.2019.0042","title":"Celluloid War Memorials: The British Instructional Films Company and the Memory of the Great War by Mark Connelly (review)","year":2019,"lang":"en","type":"article","venue":"Film & history","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":0,"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; Scholarship; Spanish Civil War; World War II; First world war; History; Sociology; Art history; Media studies; Visual arts; Classics; Law; Art; Political science; Ancient history; Archaeology","authors":[{"name":"Martin Stollery","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01361300436970701,"gpt":0.1892102599172728,"spread":0.1755972555475658,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004344418,0.0001629355,0.0003247489,0.00001494218,0.000630762,0.00003013817,0.0004031601,0.0000560351,0.009002145],"category_scores_gemma":[0.00003373448,0.00008535331,0.0002499397,0.00003633679,0.001473045,0.000111097,0.00007786708,0.0002837816,0.00003787317],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003715116,"about_ca_system_score_gemma":0.00005176771,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001240164,"about_ca_topic_score_gemma":0.0004621301,"domain_scores_codex":[0.9987757,0.0002619872,0.0002983462,0.0002066514,0.0002941302,0.0001632442],"domain_scores_gemma":[0.9991301,0.0001574644,0.0002219673,0.0003482342,0.0001059043,0.00003628105],"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":[0.00004646789,0.00002958423,0.00002508505,0.0002140684,0.00006265636,5.828137e-7,0.00696259,7.755737e-7,0.0004922398,0.005624609,0.9861056,0.0004358036],"study_design_scores_gemma":[0.0007352105,0.0000316653,0.0002339028,0.0002502623,0.00009455699,0.00001744627,0.002230856,0.00001984483,0.0001612845,0.0002875639,0.9957958,0.0001415511],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.3735022,0.427248,7.271778e-7,0.001019338,0.01017046,0.001808496,0.0007872353,0.00007874843,0.1853848],"genre_scores_gemma":[0.838199,0.02030602,0.00001984322,0.009524246,0.001620348,0.0001546422,0.000129453,0.00006584405,0.1299806],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4646968,"threshold_uncertainty_score":0.9919038,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4379742188","doi":"10.1353/flm.2020.0020","title":"Nuremberg: A Definitive Survey of the Evidentiary Films","year":2020,"lang":"en","type":"article","venue":"Film & history","topic":"Law in Society and Culture","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Tribunal; Law; Prison; Nazism; War crime; Nuremberg trials; German; The Holocaust; Political science; Archivist; Sociology; History; International law; Politics; Archaeology","authors":[{"name":"William T. Murphy","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0725512038999757,"gpt":0.2708327286169129,"spread":0.1982815247169372,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004258977,0.00006755222,0.0001195912,0.000001965927,0.0002573391,0.000006799513,0.0003696058,0.0001146115,0.002347118],"category_scores_gemma":[0.0007590326,0.000051856,0.0001387595,0.0002042608,0.000540279,0.00009712136,0.00005216169,0.0001806236,0.00008084514],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001544454,"about_ca_system_score_gemma":0.0004050888,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002999428,"about_ca_topic_score_gemma":0.003116562,"domain_scores_codex":[0.9987752,0.0004483246,0.0001279038,0.0001445896,0.0003586433,0.0001453491],"domain_scores_gemma":[0.9994093,0.0001347281,0.0001077519,0.0001298723,0.0001407865,0.00007753941],"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":[0.000008667851,0.00002151943,0.003316118,0.00001217479,0.00001836566,9.898006e-7,0.08479495,0.000004774087,0.0001527803,0.004420399,0.9071758,0.00007344485],"study_design_scores_gemma":[0.0001039197,0.00001518764,0.03395399,0.00002298114,0.00002120995,1.672645e-7,0.004775931,0.00001036126,0.00007005461,0.0001312644,0.9607952,0.00009970488],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05873331,0.0180159,0.00003492446,0.006792842,0.003871269,0.0005595429,0.0002028033,0.0001784029,0.911611],"genre_scores_gemma":[0.9782996,0.0002225438,0.00008459126,0.004019369,0.0001776138,0.00001006722,0.00001180136,0.00001095215,0.01716352],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9195662,"threshold_uncertainty_score":0.9985649,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1139015166","doi":"","title":"J. Edgar Hoover Goes to the Movies: The FBI and the Origins of Hollywood's Gold War","year":2013,"lang":"en","type":"article","venue":"Film & history","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Hollywood; Communism; Law; Memoir; Battle; Criticism; Art history; Marxist philosophy; Spanish Civil War; Doctrine; Media studies; Sociology; Art; History; Political science; Politics","authors":[{"name":"Tony Osborne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01174658290182294,"gpt":0.2241442403520642,"spread":0.2123976574502413,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009236764,0.0001049767,0.0001491268,0.00001549202,0.0005173421,0.00003194596,0.0005948156,0.00007605302,0.0007072455],"category_scores_gemma":[0.0001949316,0.00004919985,0.0001264991,0.0001410931,0.00139147,0.0001487557,0.0000858675,0.0001638774,0.000344003],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002634007,"about_ca_system_score_gemma":0.0001988431,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01326012,"about_ca_topic_score_gemma":0.001303687,"domain_scores_codex":[0.9988224,0.0002691153,0.0001526226,0.0001576368,0.000353036,0.0002452236],"domain_scores_gemma":[0.9990115,0.0003325974,0.00008998732,0.0003987417,0.00009249186,0.00007467461],"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":[0.000006370233,0.00001043366,0.0001429278,0.000006053182,0.00001826069,2.274006e-7,0.1681917,0.000001971186,0.00002033545,0.0241918,0.8064521,0.000957859],"study_design_scores_gemma":[0.0001690866,0.00001703516,0.002402358,0.000009215646,0.00002284552,3.288493e-7,0.02190975,0.00001157629,0.000008990931,0.0003942885,0.9749734,0.00008116863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.455227,0.02550179,0.00003720149,0.06829073,0.005798034,0.002741337,0.0001082623,0.0001418989,0.4421538],"genre_scores_gemma":[0.8897393,0.0007749068,0.0001092172,0.008679215,0.0007290578,0.0001084694,0.000002598981,0.00001980833,0.09983738],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4345124,"threshold_uncertainty_score":0.9933107,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389744185","doi":"10.1353/flm.2023.a915289","title":"John Farrow: Hollywood’s Man in the Shadows by Claude Gonzalez and Frans Vandenburg (review)","year":2023,"lang":"en","type":"article","venue":"Film & history","topic":"Commonwealth, Australian Politics and Federalism","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Art history; Studio; Film director; Aside; Art; Performance art; History; Visual arts; Literature","authors":[{"name":"Geoff Mayer","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04129047737298619,"gpt":0.3050940954017133,"spread":0.2638036180287271,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001065451,0.0001297655,0.0002117867,0.00008213463,0.0003630825,0.00002735999,0.0003814082,0.0001140798,0.0007393138],"category_scores_gemma":[0.00008624891,0.0001131588,0.00007721112,0.0002310174,0.000287852,0.00009452328,0.00003474567,0.0002969395,0.000130442],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002822105,"about_ca_system_score_gemma":0.0001723301,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008951018,"about_ca_topic_score_gemma":0.009737771,"domain_scores_codex":[0.9983934,0.0002884831,0.0002455292,0.0002462984,0.0003623415,0.0004639853],"domain_scores_gemma":[0.9993579,0.0001378963,0.00007223029,0.0002648762,0.00002631187,0.0001407581],"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":[0.000001799846,0.00002116299,0.0004944347,0.00006661603,0.000003901585,0.00001661323,0.01848355,2.414682e-7,0.00001541686,0.007269979,0.9725752,0.001051026],"study_design_scores_gemma":[0.0001564809,0.00001971482,0.005467234,0.00008604405,0.00001223536,0.000001270652,0.001497809,0.000009073597,8.420172e-7,0.001058034,0.991547,0.0001441921],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1173833,0.1927232,0.00001679965,0.08164345,0.003337118,0.002428158,0.0003314146,0.0005104273,0.6016261],"genre_scores_gemma":[0.7926089,0.0489091,0.0000305624,0.02199412,0.0005450411,0.0001552925,0.00009061419,0.00004618437,0.1356202],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6752256,"threshold_uncertainty_score":0.9976485,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}