{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":28,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":28,"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":"73c10f42a4d1","filters":{"venue":"Journal of Adaptation in Film & Performance"}},"results":[{"id":"W2320289577","doi":"10.1386/jafp.6.2.125_1","title":"Eurhythmatic analysis: A rhetoric of adaptation","year":2013,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Yersinia bacterium, plague, ectoparasites research","field":"Biochemistry, Genetics and Molecular Biology","cited_by":16,"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":"","keywords":"Rhetoric; Rhetorical question; Adaptation (eye); Metaphor; Ambiguity; Sociology; Aesthetics; Epistemology; Context (archaeology); History; Linguistics; Philosophy; Psychology","authors":[{"name":"Mark Rowell Wallin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01640171071902298,"gpt":0.2589364925162105,"spread":0.2425347817971876,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01047739,0.0005192913,0.0004787625,0.002984242,0.005380514,0.006377579,0.00140204,0.002136151,0.005218091],"category_scores_gemma":[0.01608185,0.0002721196,0.0002869772,0.001556758,0.03825063,0.01055777,0.005872505,0.004447731,0.0005552942],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003603105,"about_ca_system_score_gemma":0.001305968,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007331357,"about_ca_topic_score_gemma":0.0006060335,"domain_scores_codex":[0.9899799,0.00797114,0.0001874782,0.0005952944,0.0009561063,0.0003100768],"domain_scores_gemma":[0.986805,0.009940404,0.0008090938,0.001139569,0.0009881067,0.0003178556],"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":[0.00003524542,0.00001008418,0.0001901936,0.0000684735,0.000003941238,0.0001372838,0.04055836,0.00008981225,0.0006814033,0.9487088,0.002223498,0.007292912],"study_design_scores_gemma":[0.00003525307,0.0001215525,0.001450143,0.0004931242,0.00002319141,0.0007652673,0.05351846,0.002211855,0.002573725,0.5044938,0.434267,0.00004673913],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1162336,0.01105447,0.122034,0.08707887,0.004591646,0.0001327551,0.0001146169,0.0004276457,0.6583324],"genre_scores_gemma":[0.9779298,0.0009961354,0.006152645,0.001865356,0.0007842414,0.00005839339,0.00002715069,0.0001336814,0.01205264],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01047739,"threshold_uncertainty_score":0.05541044,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2055072261","doi":"10.1386/jafp.3.1.43/1","title":"Horrifying adaptations: Ringu, The Ring, and the cultural contexts of copying","year":2010,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Western University","funders":"","keywords":"Copying; Reproduction; Adaptation (eye); Aesthetics; Sociology; Cultural reproduction; Process (computing); Epistemology; Art; Anthropology; Psychology; Computer science; Philosophy; Law; Political science; Biology","authors":[{"name":"Thy Phu","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02925774122585806,"gpt":0.2472318942302429,"spread":0.2179741530043848,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002562631,0.0003943481,0.0004135648,0.0008902904,0.0104921,0.009005599,0.0010354,0.00178633,0.002409976],"category_scores_gemma":[0.007270221,0.0002555845,0.0002158786,0.0007515001,0.04458041,0.006182683,0.006573307,0.003429936,0.0001936115],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003173917,"about_ca_system_score_gemma":0.001301675,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004528322,"about_ca_topic_score_gemma":0.006886621,"domain_scores_codex":[0.9966437,0.002381635,0.0000631205,0.0002104908,0.0003680163,0.0003330605],"domain_scores_gemma":[0.9978926,0.001281263,0.000265437,0.0003147493,0.0001081823,0.0001379581],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000420036,0.00001330532,0.0007716871,0.00005952576,0.00000630866,0.001103898,0.8087487,0.00007683865,0.0008038729,0.1771089,0.001593933,0.00967114],"study_design_scores_gemma":[0.00001687024,0.00007908011,0.00419439,0.0003710239,0.00003021422,0.001874525,0.7703761,0.0003311824,0.001641142,0.04114746,0.1798798,0.00005821778],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6343536,0.006274933,0.003861143,0.01249718,0.0006004598,0.00003622775,0.00001451539,0.00008406671,0.3422779],"genre_scores_gemma":[0.9930953,0.0004203911,0.000221131,0.0002354101,0.00004663229,0.000006819473,0.000002245262,0.00002574418,0.005946216],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0104921,"threshold_uncertainty_score":0.02302849,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2325195327","doi":"10.1386/jafp.7.2.169_1","title":"The nostalgic remediation of cinema in Hugo and Paprika","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Nostalgia and Consumer Behavior","field":"Psychology","cited_by":11,"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":"","keywords":"Movie theater; Aesthetics; Ambivalence; Postmodernism; Sociology; Digitization; Art; Literature; Psychoanalysis; Psychology; Computer science","authors":[{"name":"Sandra Annett","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01758358282951785,"gpt":0.2730192231557623,"spread":0.2554356403262445,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001332044,0.0001911761,0.0001942558,0.0004600567,0.003818816,0.003314947,0.0004334042,0.0008969337,0.002203047],"category_scores_gemma":[0.004411646,0.0001170404,0.0001077347,0.0002740084,0.009939265,0.002260834,0.003787568,0.001746016,0.0001429051],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001354923,"about_ca_system_score_gemma":0.0005137838,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002477914,"about_ca_topic_score_gemma":0.003951935,"domain_scores_codex":[0.9988158,0.0007679559,0.00001692595,0.00009123315,0.0001464873,0.0001616668],"domain_scores_gemma":[0.998759,0.0005678339,0.0002297208,0.0001587708,0.0000890119,0.0001956393],"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":[0.0001842954,0.0002514157,0.01090961,0.0002193901,0.00002139872,0.001513917,0.8445067,0.0001146881,0.007351093,0.07355239,0.004238415,0.05713656],"study_design_scores_gemma":[0.0000283083,0.0003842271,0.06605299,0.0003732535,0.0000377206,0.002138923,0.5939704,0.0006836715,0.004146806,0.02453264,0.3075419,0.0001091867],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.919566,0.001024301,0.001372094,0.00440263,0.0001821097,0.00002459172,0.00000894411,0.00004561698,0.0733737],"genre_scores_gemma":[0.997651,0.0001081942,0.0001196625,0.0001534478,0.00001957683,0.000002904364,0.000001961768,0.000005799708,0.001937333],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003818816,"threshold_uncertainty_score":0.009830654,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2315777612","doi":"10.1386/jafp.7.2.181_1","title":"Avengers dissemble! Transmedia superhero franchises and cultic management","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","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 Lethbridge","funders":"","keywords":"Appropriation; Entertainment; Adaptation (eye); Sociology; Aesthetics; Media studies; Advertising; Art; Business; Epistemology; Visual arts; Psychology; Philosophy","authors":[{"name":"Aaron Taylor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01701089631963143,"gpt":0.2016201197824941,"spread":0.1846092234628627,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001099888,0.0002112532,0.0001063321,0.0008705429,0.007993937,0.004113143,0.000576548,0.0008348166,0.01077692],"category_scores_gemma":[0.001723408,0.00007557174,0.0001060219,0.0007528863,0.004667351,0.001784292,0.00218772,0.001032552,0.0005974623],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003666078,"about_ca_system_score_gemma":0.0009016138,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01165309,"about_ca_topic_score_gemma":0.03867383,"domain_scores_codex":[0.9992087,0.0004830883,0.00001468664,0.00006689057,0.00008944658,0.0001371598],"domain_scores_gemma":[0.9988194,0.0004428026,0.0001795638,0.0001506986,0.0001030428,0.0003045668],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000177246,0.0004833001,0.02896726,0.0001454464,0.00001645708,0.01216756,0.655497,0.0005947909,0.004008288,0.1626281,0.01306522,0.1222494],"study_design_scores_gemma":[0.00002111392,0.0002621889,0.04161347,0.0002495602,0.00001549387,0.002718084,0.5591084,0.001444882,0.001870506,0.007532261,0.385129,0.00003508072],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8594653,0.0003283602,0.0007016663,0.002023274,0.00004879663,0.00003344621,0.00002551009,0.00002482872,0.137349],"genre_scores_gemma":[0.9854482,0.00008095274,0.000198833,0.00004965447,0.0000168497,0.000004746739,0.000006301729,0.000005334862,0.01418922],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01165309,"threshold_uncertainty_score":0.03605235,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3198653027","doi":"10.1386/jafp_00055_7","title":"Under the deerstalker: Nick Lane and Luke Barton on Sherlock Holmes and The Sign of Four","year":2021,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Crime and Detective Fiction Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Sign (mathematics); Art; Art history; Mathematics","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04881498703215723,"gpt":0.2286231760325349,"spread":0.1798081890003776,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001822443,0.0007988372,0.0005800021,0.001217261,0.01449448,0.008610116,0.001487659,0.00749433,0.02869649],"category_scores_gemma":[0.01296721,0.0004248551,0.0002933681,0.0006021541,0.008958193,0.007973517,0.00681477,0.0123801,0.008508065],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002217672,"about_ca_system_score_gemma":0.00276325,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02675164,"about_ca_topic_score_gemma":0.1000795,"domain_scores_codex":[0.9982535,0.0007187636,0.00003870525,0.0001925333,0.0005301362,0.000266292],"domain_scores_gemma":[0.9959403,0.001822225,0.0001745268,0.00014007,0.000843603,0.001079186],"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":[0.00001082629,0.00001001845,0.0001202898,0.00002114326,0.000002598594,0.0001564793,0.005408656,0.00001030112,0.00005078665,0.01025227,0.973509,0.01044759],"study_design_scores_gemma":[0.000003277737,0.000006483788,0.0001920404,0.0002359054,0.000003243779,0.0001611187,0.0196991,0.00001452594,0.00007131871,0.003646285,0.9759519,0.00001472059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.004434495,0.03770516,0.0006503795,0.8128346,0.04702545,0.00002697404,0.00005735013,0.00009034617,0.09717526],"genre_scores_gemma":[0.07778331,0.02487381,0.0004990295,0.2231489,0.01776031,0.00007361826,0.00004509689,0.0003685131,0.6554474],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02869649,"threshold_uncertainty_score":0.0959993,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4224326731","doi":"10.1386/jafp_00068_1","title":"Opera-to-opera adaptation revived: Barrie Kosky and Elena Kats-Chernin’s Monteverdi Trilogie at the Komische Oper Berlin, instrumentation, localization and community","year":2022,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Opera; Adaptation (eye); Context (archaeology); Opera house; Inclusion (mineral); Art; Visual arts; Art history; Aesthetics; History; Sociology; Archaeology; Social science; Physics; Optics","authors":[{"name":"John R. Severn","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0420659518039575,"gpt":0.2257022797924652,"spread":0.1836363279885077,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009385523,0.0003481557,0.0002456171,0.000621312,0.00893388,0.006090362,0.0006322809,0.001236679,0.004080019],"category_scores_gemma":[0.00156624,0.0002507455,0.0001433082,0.0005006548,0.01511477,0.004256856,0.005763893,0.00477462,0.0005805035],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004781889,"about_ca_system_score_gemma":0.00210365,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01241743,"about_ca_topic_score_gemma":0.02826851,"domain_scores_codex":[0.9992119,0.0002634697,0.00001754259,0.0001372636,0.0001329289,0.0002368534],"domain_scores_gemma":[0.999579,0.0001242017,0.00005019037,0.00003372287,0.00005224416,0.0001607288],"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":[0.0001463721,0.00005015096,0.002877997,0.0001004088,0.0000082945,0.001200712,0.2540271,0.0001522324,0.0009583253,0.6617032,0.05003726,0.02873801],"study_design_scores_gemma":[0.00001152177,0.00005322923,0.009713482,0.0002407263,0.000006968138,0.0006328232,0.1201336,0.000163067,0.0004501836,0.02693449,0.8416014,0.00005851391],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4374625,0.01911949,0.005128582,0.09418055,0.005492356,0.0000574906,0.0001079285,0.000146994,0.4383042],"genre_scores_gemma":[0.9381527,0.00175102,0.0005078599,0.003222247,0.0004114897,0.0000272157,0.0000328207,0.000105463,0.05578915],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01241743,"threshold_uncertainty_score":0.03469521,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2315920021","doi":"10.1386/jafp.7.2.195_1","title":"If this is your land, where is your camera?: Atanarjuat, The Journals of Knud Rasmussen and post-cinematic adaptation","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Memory, Trauma, and Commemoration","field":"Psychology","cited_by":2,"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":"Movie theater; Sociology; Reflexivity; Indexicality; Aesthetics; Indigenous; Representation (politics); Textuality; Adaptation (eye); History; Literature; Media studies; Anthropology; Art; Epistemology; Philosophy; Psychology; Law","authors":[{"name":"Russell Kilbourn","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04725344169799617,"gpt":0.3121167449725377,"spread":0.2648633032745415,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001656399,0.0003261334,0.0002478082,0.001228837,0.009116075,0.008591276,0.0008694842,0.001379508,0.003661116],"category_scores_gemma":[0.004179012,0.0002124911,0.0001046011,0.001480653,0.009291076,0.004717509,0.003167049,0.002418104,0.0003972267],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004001207,"about_ca_system_score_gemma":0.002077871,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0158126,"about_ca_topic_score_gemma":0.03484055,"domain_scores_codex":[0.9986547,0.0007265377,0.00004543824,0.000140826,0.000230247,0.0002021534],"domain_scores_gemma":[0.997879,0.0009661388,0.0003042808,0.0001805168,0.0003752235,0.0002948027],"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":[0.000125029,0.0001008755,0.002856528,0.0003487804,0.00001520069,0.002295156,0.842479,0.00007070984,0.001927463,0.1016929,0.02683939,0.02124901],"study_design_scores_gemma":[0.00000873883,0.00005046611,0.01057852,0.0006421477,0.000015277,0.001268379,0.4327597,0.00008898921,0.001005729,0.004084264,0.5494642,0.00003354895],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6421974,0.01930006,0.0005309192,0.03825611,0.002430341,0.00004643062,0.0001718114,0.00006316057,0.2970039],"genre_scores_gemma":[0.9815845,0.003354882,0.0002016819,0.001151833,0.0003473015,0.00001434708,0.0000447411,0.00005278683,0.01324788],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9841874,"threshold_uncertainty_score":0.03144115,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2978231200","doi":"10.1386/jafp.11.3.327_1","title":"The sense of an ending in The Hunchback of Notre Dame: A conversation with Sarah Langford and Nicholas Cunha","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Dalhousie University","funders":"","keywords":"Musical; Conversation; Art; Art history; Beauty; Literature; History; Philosophy; Aesthetics; Linguistics","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02801571502389722,"gpt":0.2349765313240122,"spread":0.206960816300115,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006143645,0.0007117864,0.000596586,0.0007314538,0.03457446,0.01061904,0.001748391,0.004191033,0.00431554],"category_scores_gemma":[0.009273637,0.0005392478,0.0003029792,0.0007922159,0.03417566,0.006509515,0.005841371,0.01326264,0.0005611965],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02541499,"about_ca_system_score_gemma":0.007377595,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2714694,"about_ca_topic_score_gemma":0.4911447,"domain_scores_codex":[0.9917921,0.005912294,0.00008431103,0.0004670059,0.001008891,0.0007354493],"domain_scores_gemma":[0.9952548,0.002369351,0.0002471043,0.0001734241,0.0006393678,0.001316029],"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":[0.00003278868,0.00001990085,0.0004995643,0.00004979691,0.000006102842,0.0006556199,0.9037824,0.00006304339,0.0004931183,0.04406951,0.04512403,0.0052041],"study_design_scores_gemma":[0.000004248064,0.00001805049,0.000905174,0.000201381,0.000004300234,0.0003068632,0.5962248,0.00006651215,0.0002723515,0.002067514,0.3998945,0.00003420404],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2712325,0.02745928,0.004437388,0.3373136,0.01139778,0.00008678966,0.0001081627,0.0001534838,0.347811],"genre_scores_gemma":[0.9035398,0.004169839,0.0009609827,0.02601751,0.0007015362,0.00005841506,0.00002018278,0.0001574132,0.06437434],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2714694,"threshold_uncertainty_score":0.5397785,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2326868350","doi":"10.1386/jafp.5.3.263_1","title":"Remastering the art of French cooking: Adaptation, anamnesis and authenticity in Julie & Julia","year":2012,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Regina","funders":"","keywords":"Fidelity; Anamnesis; Adaptation (eye); Sociology; Art; Faith; Julia set; Art history; Aesthetics; Computer science; Philosophy; Epistemology; Psychology; Mathematics","authors":[{"name":"Susan A. Johnston","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05827483974122631,"gpt":0.2420812356849023,"spread":0.183806395943676,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002650158,0.0004670644,0.0002576814,0.0008411033,0.007378576,0.005893837,0.0007347816,0.001365558,0.001982854],"category_scores_gemma":[0.005423102,0.0001758733,0.000216276,0.0004813734,0.02089457,0.002573393,0.003801775,0.003210022,0.0002401906],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005765383,"about_ca_system_score_gemma":0.001686308,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01912294,"about_ca_topic_score_gemma":0.03219142,"domain_scores_codex":[0.9978757,0.001440946,0.00002595578,0.0001407829,0.0002674745,0.0002491706],"domain_scores_gemma":[0.9983431,0.0009715232,0.0001964841,0.0001389784,0.0001592338,0.0001906571],"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":[0.00006346504,0.0000235524,0.001193787,0.00007057776,0.000007633041,0.001445446,0.8932501,0.0001149734,0.001346317,0.08599969,0.002846406,0.01363807],"study_design_scores_gemma":[0.00001062972,0.00009707061,0.007501347,0.0002341106,0.00001412802,0.00203123,0.6192775,0.0002316461,0.002135186,0.009034792,0.3593714,0.00006094845],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6770477,0.004101271,0.006546931,0.01421113,0.0005373669,0.00007169347,0.00005057768,0.0001126507,0.2973206],"genre_scores_gemma":[0.9851431,0.0005235893,0.0005455156,0.000370371,0.00005477011,0.00001339272,0.000007221684,0.00004181147,0.01330019],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01912294,"threshold_uncertainty_score":0.04183096,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2322667224","doi":"10.1386/jafp.7.2.209_1","title":"Creating the space of truth in the make-believe world of the theatre: An interview with Peter Sellars","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Brock University","funders":"American Academy of Arts and Sciences","keywords":"Reverence; Politics; Opera; Political theatre; Art; Theatre director; Performance art; Art history; Space (punctuation); Visual arts; Sociology; Aesthetics; Literature; Law; Political science; Philosophy","authors":[{"name":"Karen Fricker","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03077404243540074,"gpt":0.228063193557509,"spread":0.1972891511221083,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008478173,0.0007133703,0.000800362,0.001546126,0.02986741,0.01391744,0.002124433,0.006768748,0.005170409],"category_scores_gemma":[0.01481324,0.001195296,0.0005103224,0.001078332,0.0384773,0.01128397,0.007917814,0.02157015,0.0009138098],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007209453,"about_ca_system_score_gemma":0.004484029,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0166666,"about_ca_topic_score_gemma":0.01841739,"domain_scores_codex":[0.9849452,0.01102331,0.0002420201,0.0007009326,0.001515147,0.001573463],"domain_scores_gemma":[0.9875072,0.008308212,0.0007172205,0.0002491584,0.0008566896,0.002361464],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001869197,0.00004234695,0.0003530002,0.00005637137,0.000003804159,0.001364104,0.964737,0.00005926386,0.0006886899,0.01595259,0.0144896,0.002234485],"study_design_scores_gemma":[0.000002841294,0.00002816048,0.0002246573,0.0001213151,0.000002850761,0.0005843892,0.9208353,0.00006463172,0.0001310622,0.001264291,0.07671832,0.00002214739],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5495245,0.005833732,0.004938949,0.3280474,0.00276398,0.0002822933,0.0001463535,0.0001433808,0.1083193],"genre_scores_gemma":[0.9658856,0.001959181,0.001088734,0.01283025,0.0004938444,0.0001157455,0.00001964944,0.0001182637,0.01748877],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02986741,"threshold_uncertainty_score":0.05230844,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4251910415","doi":"10.1386/jafp.9.2.191_1","title":"Practitioners’ Perspectives","year":2016,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Conversation; Sociology; Psychology; Gender studies; Communication","authors":[{"name":"Tom Ue","is_ca":true},{"name":"Christopher Shinn","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0322892384818469,"gpt":0.2391147117718341,"spread":0.2068254732899872,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.03979947,0.0007973961,0.000739314,0.004207511,0.02385184,0.01842611,0.003511657,0.01429604,0.04005458],"category_scores_gemma":[0.06252746,0.0007698547,0.0007301428,0.005137285,0.01522559,0.01204595,0.01551607,0.01884696,0.005450174],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01601244,"about_ca_system_score_gemma":0.01963497,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01058307,"about_ca_topic_score_gemma":0.01124856,"domain_scores_codex":[0.9470952,0.03419049,0.001663257,0.002987195,0.006620695,0.007443142],"domain_scores_gemma":[0.9272162,0.03798238,0.002632846,0.001761968,0.01516991,0.01523656],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000728681,0.00009582187,0.002792947,0.0007931101,0.00001412547,0.003712816,0.7583289,0.0001529519,0.0007742724,0.1151992,0.0920822,0.02598086],"study_design_scores_gemma":[0.00001033636,0.00002591582,0.0003913044,0.0008284195,0.000003781102,0.0007094211,0.6243359,0.00006385554,0.0001128008,0.007179147,0.3663185,0.00002069197],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.09633315,0.01111637,0.006010422,0.665284,0.008074651,0.0002263553,0.0003523625,0.0001437648,0.212459],"genre_scores_gemma":[0.7361394,0.01147241,0.00328655,0.1760942,0.002115883,0.0005668858,0.0002187504,0.0002566107,0.06984944],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04005458,"threshold_uncertainty_score":0.2104822,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3016303600","doi":"10.1386/jafp_00015_7","title":"The question of closure in James Sallis’ and Nicolas Winding Refn’s Drive","year":2020,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"German Literature and Culture Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Closure (psychology); Economics; Political science; Law","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02271286555888537,"gpt":0.2328874651263098,"spread":0.2101745995674244,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007007644,0.0004159973,0.0009165743,0.0009221494,0.01021042,0.01042398,0.001829374,0.009425683,0.01331842],"category_scores_gemma":[0.0297403,0.0004289768,0.0003253847,0.000771816,0.0337927,0.0133065,0.004500328,0.01159808,0.001887171],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004329103,"about_ca_system_score_gemma":0.002410671,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009095934,"about_ca_topic_score_gemma":0.01048722,"domain_scores_codex":[0.9950442,0.002480808,0.0001568525,0.001030747,0.0006912451,0.0005961957],"domain_scores_gemma":[0.990483,0.006326235,0.000341703,0.0008500087,0.001218601,0.000780302],"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":[0.00001932109,0.00001282008,0.00007346435,0.00001155389,0.000003318279,0.00005073056,0.006875697,0.000039323,0.00002910143,0.9194332,0.06987168,0.003579795],"study_design_scores_gemma":[0.00002440294,0.000008131175,0.0001993373,0.0001106327,0.000004259137,0.00008229829,0.005595117,0.0002013669,0.0001318748,0.6060425,0.3875713,0.0000286538],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.01275986,0.007932088,0.003394047,0.7046467,0.006464995,0.00001523245,0.00005495534,0.00004867779,0.2646835],"genre_scores_gemma":[0.7921946,0.002795281,0.001819057,0.07298532,0.007737673,0.00007290552,0.00003961696,0.0004685879,0.121887],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01331842,"threshold_uncertainty_score":0.04455453,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2329070734","doi":"10.1386/jafp.7.2.155_7","title":"Introduction: Film adaptation in the post-cinematic era","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":1,"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":"","keywords":"Adaptation (eye); Mediation; Dialogic; Presupposition; Movie theater; Sociology; Identity (music); Field (mathematics); Emphasis (telecommunications); Aesthetics; New media; Media studies; History; Political science; Art; Social science; Epistemology; Psychology; Law; Art history","authors":[{"name":"Russell Kilbourn","is_ca":true},{"name":"Patrick Faubert","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02232754549476521,"gpt":0.2196816375735994,"spread":0.1973540920788342,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001850937,0.000288393,0.0002238539,0.001033578,0.003345129,0.005931387,0.0007457916,0.00165476,0.008747385],"category_scores_gemma":[0.004808817,0.0001059611,0.0001947877,0.0009790069,0.007686189,0.002978221,0.002614868,0.002831121,0.0008026399],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002453449,"about_ca_system_score_gemma":0.0009121408,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003043125,"about_ca_topic_score_gemma":0.002652406,"domain_scores_codex":[0.9983277,0.0008898123,0.00005865161,0.0001955341,0.0003862156,0.0001420835],"domain_scores_gemma":[0.9972983,0.001546226,0.0002219261,0.0002405281,0.0004866011,0.0002064397],"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":[0.0001235331,0.00008535055,0.003574599,0.0009800781,0.00002335175,0.0007236178,0.2248954,0.0001870024,0.002250292,0.5120484,0.1655444,0.08956385],"study_design_scores_gemma":[0.000006885858,0.00004661153,0.007909722,0.0008922945,0.00001040378,0.0003925573,0.03167504,0.0001518935,0.001212338,0.01099304,0.9466915,0.00001755708],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"editorial","genre_scores_codex":[0.1096959,0.04484953,0.00663725,0.1031189,0.01577335,0.0001229342,0.0002991715,0.0002081197,0.7192948],"genre_scores_gemma":[0.8986101,0.01115358,0.0009806668,0.006524217,0.005545211,0.00007805553,0.0001281933,0.0001196782,0.07686035],"genre_candidate":"editorial","genre_consensus":null,"teacher_disagreement_score":0.008747385,"threshold_uncertainty_score":0.02926296,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4383888560","doi":"10.1386/jafp_00095_7","title":"The phoenix rises: Peeter Rebane on Firebird","year":2023,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Context (archaeology); Sociology; Politics; Visual arts; Movie theater; Media studies; Feature film; Art history; Art; History; Law; Political science","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04682174701503847,"gpt":0.2456422438635124,"spread":0.198820496848474,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009009891,0.0004565752,0.000232927,0.0003628314,0.01051327,0.004963564,0.0008199571,0.001786916,0.02193601],"category_scores_gemma":[0.001696095,0.0003353335,0.0001453792,0.0004414458,0.003097437,0.003831928,0.002673206,0.00603927,0.001931738],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003141859,"about_ca_system_score_gemma":0.001370173,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03382508,"about_ca_topic_score_gemma":0.08624206,"domain_scores_codex":[0.9993166,0.0002656321,0.00000903724,0.0001003407,0.0001278294,0.0001806297],"domain_scores_gemma":[0.9996568,0.00009017572,0.00002786186,0.000014102,0.00005421238,0.0001567972],"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":[0.0001046748,0.0001226989,0.001876172,0.0002058819,0.000009004651,0.004541708,0.5012593,0.00009213459,0.001927363,0.02645008,0.4332392,0.03017192],"study_design_scores_gemma":[0.000003677028,0.00003341429,0.001649412,0.0001818372,0.000002703115,0.0004946242,0.2283935,0.00002878311,0.0003418524,0.0002699722,0.76859,0.00001017909],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.304189,0.0109116,0.001113369,0.09766743,0.005554188,0.0001706701,0.0003648399,0.0001368576,0.5798921],"genre_scores_gemma":[0.5116041,0.006718866,0.0008493969,0.01584152,0.0009227633,0.0001159238,0.0001398256,0.0003000049,0.4635076],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.03382508,"threshold_uncertainty_score":0.07338321,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4322710705","doi":"10.1386/jafp_00082_7","title":"Roaming the greenwood: On E. M. Forster’s Maurice and William di Canzio’s Alec","year":2022,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Digital Humanities and Scholarship","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Roaming; Art; Sociology; Computer science; Telecommunications","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04861124976513412,"gpt":0.2182147108267631,"spread":0.169603461061629,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006230218,0.0005686526,0.0003210653,0.0007869975,0.004289762,0.004577189,0.0006990796,0.002170391,0.2646791],"category_scores_gemma":[0.002282951,0.0002455694,0.0002130437,0.0006204111,0.001783715,0.003223949,0.002960886,0.002482431,0.1086395],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001631204,"about_ca_system_score_gemma":0.001183844,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02158832,"about_ca_topic_score_gemma":0.0900283,"domain_scores_codex":[0.9995521,0.00009106553,0.000007823751,0.0000454358,0.0002184555,0.00008510402],"domain_scores_gemma":[0.9994807,0.0000962746,0.00001938683,0.00003368985,0.0001563749,0.0002136642],"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":[0.000004312545,0.000003100279,0.00002059909,0.00001538782,4.117239e-7,0.00003085638,0.0003135125,0.000004072403,0.00005856182,0.0009087129,0.9909552,0.007685249],"study_design_scores_gemma":[7.329147e-7,0.000001492539,0.0001062061,0.00005063576,3.287455e-7,0.00002618886,0.0003989768,0.000002504524,0.00002966407,0.00009454322,0.9992864,0.000002320219],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001476826,0.02607604,0.0007376519,0.07589006,0.0230339,0.0001120765,0.0004383349,0.0007882132,0.8714469],"genre_scores_gemma":[0.007224063,0.007906606,0.0003297397,0.007380672,0.002416978,0.00004119831,0.00008812329,0.0004055094,0.9742071],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2646791,"threshold_uncertainty_score":0.8854397,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3186170408","doi":"10.1386/jafp_00047_5","title":"The Picture of Dorian Gray, Tamara Harvey (dir.) (2021), UK: Barn Theatre, Lawrence Batley Theatre, The New Wolsey Theatre, Oxford Playhouse and Theatr Clwyd","year":2021,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Architecture and Cultural Influences","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Gray (unit); Barn; Art; Art history; History; Archaeology; Medicine","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01712883282294488,"gpt":0.2184958129429215,"spread":0.2013669801199766,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001412082,0.001144111,0.0006410803,0.001127245,0.006384753,0.006802897,0.001006827,0.004495454,0.0952402],"category_scores_gemma":[0.00238619,0.0007161584,0.0003959419,0.001595046,0.003198499,0.007673493,0.004250597,0.00786797,0.04150869],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002887305,"about_ca_system_score_gemma":0.003324371,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05344109,"about_ca_topic_score_gemma":0.1757792,"domain_scores_codex":[0.9990883,0.0002850418,0.00003950156,0.0001443602,0.0002790329,0.0001636622],"domain_scores_gemma":[0.998692,0.0002096429,0.00007959722,0.00005179682,0.00039442,0.0005725007],"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":[0.00001236396,0.000002703563,0.0000567832,0.00005109131,7.937347e-7,0.00004148101,0.0006197139,0.000008957057,0.00004677019,0.002194612,0.9869594,0.01000543],"study_design_scores_gemma":[0.000002029258,0.000003137066,0.000256367,0.0001065758,0.000001082198,0.000075572,0.002161827,0.000005489997,0.00001643046,0.0003928588,0.9969742,0.00000442927],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.001416558,0.2032266,0.0009690912,0.5203962,0.09465054,0.00005087999,0.0007690937,0.0002571302,0.1782639],"genre_scores_gemma":[0.0152018,0.05590526,0.001033292,0.1009156,0.01185896,0.00007797861,0.0003129734,0.0003978096,0.8142963],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.0952402,"threshold_uncertainty_score":0.3186103,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2936898012","doi":"10.1386/jafp.11.3.315_1","title":"Rubies in the crown: A conversation on racial representation in Canadian theatre with Karen Robinson","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","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":"White (mutation); Conversation; Art; Power (physics); Gender studies; Resistance (ecology); Black feminism; Art history; Sociology; Performance art; Black women; History; Visual arts; Communication","authors":[{"name":"Valentina Rapetti","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03056731670717979,"gpt":0.2447939671467615,"spread":0.2142266504395817,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006366454,0.0008038338,0.000849189,0.002166565,0.07999095,0.00977748,0.003178479,0.005777458,0.009079956],"category_scores_gemma":[0.01262017,0.0008242552,0.0006383689,0.00212362,0.024534,0.004265578,0.00605621,0.01123768,0.0009667294],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.09734301,"about_ca_system_score_gemma":0.07225625,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9720151,"about_ca_topic_score_gemma":0.986964,"domain_scores_codex":[0.9903103,0.003637476,0.0001402214,0.0007377672,0.002109893,0.003064428],"domain_scores_gemma":[0.9921169,0.002258223,0.0003203154,0.0001435934,0.002264096,0.002896913],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004544041,0.00003615635,0.001276929,0.00006051662,0.000008248265,0.001099519,0.943749,0.00009009728,0.0009885584,0.009069498,0.0377257,0.005850324],"study_design_scores_gemma":[0.000004017095,0.0000161026,0.00147812,0.0001331987,0.000005768057,0.0001945483,0.8388991,0.00006786571,0.0001591374,0.0003767735,0.1586085,0.0000569504],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4701683,0.009092011,0.002221507,0.261761,0.003911986,0.0002687313,0.0002957293,0.0002052047,0.2520755],"genre_scores_gemma":[0.9187502,0.002913638,0.00100574,0.02832747,0.0002254548,0.0000956939,0.00005110942,0.0001962085,0.0484344],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09734301,"threshold_uncertainty_score":0.7062762,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2321592125","doi":"10.1386/jafp.7.2.159_1","title":"Back and forth and forward: Metareference in recent film adaptations","year":2014,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"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":"","keywords":"Movie theater; Adventure; Assertion; Phenomenon; Adaptation (eye); Marshalling; Sociology; Perspective (graphical); Aesthetics; Media studies; Reflexivity; Art; Visual arts; Epistemology; Computer science; Psychology; Art history; Social science; Philosophy","authors":[{"name":"Patrick Faubert","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03986866034738195,"gpt":0.2325714921112324,"spread":0.1927028317638505,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01305373,0.0004404475,0.0005689798,0.002773899,0.009561548,0.01139768,0.002200679,0.002573051,0.003837582],"category_scores_gemma":[0.03348571,0.0004571865,0.000437452,0.002175079,0.02395333,0.01025101,0.01137369,0.004928051,0.0003122703],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004392378,"about_ca_system_score_gemma":0.001549927,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002459052,"about_ca_topic_score_gemma":0.003942719,"domain_scores_codex":[0.9838717,0.01244396,0.000376281,0.001130298,0.001517451,0.0006603237],"domain_scores_gemma":[0.979937,0.01113435,0.002347803,0.0038055,0.001768764,0.001006733],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008068282,0.00003668956,0.002676498,0.0001294236,0.0000249575,0.001055133,0.869985,0.0001362711,0.00160312,0.1030423,0.001811323,0.01941856],"study_design_scores_gemma":[0.00002689752,0.0001795179,0.01354573,0.0009749388,0.0000632849,0.002254925,0.602405,0.001009229,0.002693027,0.05471617,0.3220179,0.0001133172],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6995403,0.005710703,0.02567857,0.01740593,0.001135833,0.0001274101,0.00004953306,0.0002507509,0.250101],"genre_scores_gemma":[0.9945971,0.0003452164,0.0008353883,0.0003464545,0.00009399445,0.00001393178,0.00001120558,0.00006592103,0.003690869],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01305373,"threshold_uncertainty_score":0.06903553,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2897005046","doi":"10.1386/jafp.11.2.217_1","title":"Orwell’s Animal Farm for the twenty-first century","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Dalhousie University","funders":"","keywords":"Novella; Dream; Meaning (existential); Narrative; Reading (process); Literature; Art; George (robot); History; Art history; Aesthetics; Philosophy; Law; Psychology; Political science","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03738876012472651,"gpt":0.247137321786064,"spread":0.2097485616613375,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00132769,0.000334847,0.0001556448,0.00052843,0.01049053,0.004995186,0.0006453897,0.001321766,0.01069665],"category_scores_gemma":[0.001646112,0.0000991705,0.00009943849,0.0005830859,0.01361411,0.001748898,0.002961233,0.00238413,0.0008134794],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01602793,"about_ca_system_score_gemma":0.003760225,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.09164204,"about_ca_topic_score_gemma":0.2228579,"domain_scores_codex":[0.999078,0.0004119037,0.00001817964,0.00008177957,0.0001729792,0.0002370967],"domain_scores_gemma":[0.9993086,0.0001639052,0.00007236091,0.00006728306,0.0001168847,0.0002710323],"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":[0.00007706023,0.00002667309,0.0008253889,0.000126937,0.000004347192,0.0007832946,0.4168146,0.00008342391,0.0007815836,0.4507814,0.1133502,0.01634503],"study_design_scores_gemma":[0.000002303186,0.000009977944,0.0008755693,0.000091911,0.000001568864,0.0001032246,0.04264351,0.00002294641,0.0001275402,0.002069918,0.9540442,0.000007350836],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1785177,0.02018435,0.00118957,0.09154785,0.002949224,0.00004446146,0.0001417328,0.0001015579,0.7053236],"genre_scores_gemma":[0.8448837,0.003161004,0.0002022083,0.00247499,0.0002904718,0.00001847483,0.00002570062,0.00005496976,0.1488885],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.09164204,"threshold_uncertainty_score":0.1822172,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2328084187","doi":"10.1386/jafp.6.1.5_1","title":"Adaptation as sadomasochism: The case of Guy Maddin’s Dracula: Pages from a Virgin’s Diary","year":2013,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Sadomasochism; Adaptation (eye); Pleasure; Narrative; Eroticism; Aesthetics; Psychology; Art; Literature; Human sexuality; Sociology; Gender studies","authors":[{"name":"Shannon Brownlee","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02817820240681185,"gpt":0.2246733288183271,"spread":0.1964951264115152,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002076308,0.0004147176,0.0004611102,0.001099977,0.01430528,0.007132384,0.001337377,0.002504091,0.002500925],"category_scores_gemma":[0.006794896,0.0004673616,0.0002128482,0.001467563,0.01451339,0.002983613,0.005407231,0.004417044,0.0003335121],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006727423,"about_ca_system_score_gemma":0.00170243,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0235993,"about_ca_topic_score_gemma":0.06530651,"domain_scores_codex":[0.9972915,0.001844908,0.00007052289,0.0001843202,0.0002579101,0.0003509299],"domain_scores_gemma":[0.9972308,0.001728251,0.0002216353,0.0002940282,0.0001628131,0.0003623923],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00004162276,0.00002099781,0.001030664,0.00008262445,0.000005902608,0.003413408,0.9649034,0.00003869993,0.0003611759,0.01772208,0.00633901,0.006040365],"study_design_scores_gemma":[0.000009646206,0.00003505414,0.004277014,0.0003074201,0.00001285945,0.002672517,0.7032891,0.0001297219,0.0006326176,0.002098221,0.2864985,0.00003733558],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8428412,0.004472875,0.001569241,0.01836989,0.0007888278,0.00008137208,0.000183318,0.00007407861,0.1316192],"genre_scores_gemma":[0.9849475,0.0007900025,0.0002764981,0.0009387276,0.00008945915,0.00002110895,0.00003828458,0.00004880914,0.01284949],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0235993,"threshold_uncertainty_score":0.04881114,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4392701131","doi":"10.1386/jafp_00103_7","title":"Desire, obsession and tragedy: Ricky Dukes on adapting Oscar Wilde’s Salomé","year":2023,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Tragedy (event); Psychoanalysis; Art; Philosophy; Psychology; Literature","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06779283978397904,"gpt":0.2463196657517165,"spread":0.1785268259677374,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002134206,0.0004128196,0.0003238509,0.0006268824,0.0189804,0.006452693,0.001007625,0.002272791,0.003098322],"category_scores_gemma":[0.005588777,0.0002321762,0.0001759862,0.0005207331,0.02064774,0.004401177,0.004692631,0.006895441,0.0004417159],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006023855,"about_ca_system_score_gemma":0.00199899,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04966089,"about_ca_topic_score_gemma":0.1078612,"domain_scores_codex":[0.997381,0.001598814,0.00003534072,0.0001686343,0.0004725905,0.0003435598],"domain_scores_gemma":[0.9985219,0.0007972799,0.00009682047,0.00007426996,0.0002118229,0.0002978969],"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":[0.00002795562,0.00002543355,0.0004565848,0.00005162915,0.000004103893,0.001129595,0.8672519,0.00005917065,0.0004504755,0.06068444,0.06176931,0.00808946],"study_design_scores_gemma":[0.000005356138,0.00002352809,0.000937514,0.0001708255,0.000003476949,0.0007949251,0.6083211,0.0000920125,0.0002743551,0.004137936,0.385211,0.00002790898],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4172882,0.01485556,0.002633543,0.127808,0.004714679,0.00006476738,0.00008511604,0.0001299641,0.4324201],"genre_scores_gemma":[0.9260913,0.00200736,0.0004101022,0.007801842,0.000373398,0.00002785386,0.0000165918,0.0001105236,0.06316107],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04966089,"threshold_uncertainty_score":0.09874368,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2936146697","doi":"10.1386/jafp.11.3.295_1","title":"Catching Othello’s echoes in Harlem Duet: A conversation on Shakespearean adaptation, blackness and African Diaspora Theatre with Djanet Sears","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Literature Analysis and Criticism","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":"Diaspora; Oppression; Psyche; Drama; Black feminism; Blues; Harlem Renaissance; Gender studies; Dance; White (mutation); Sociology; Masculinity; Racism; Black women; Art; Literature; Art history; Performance art; Politics; Psychoanalysis; Psychology","authors":[{"name":"Valentina Rapetti","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01352418572723981,"gpt":0.2384716777366101,"spread":0.2249474920093703,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002738021,0.0006080585,0.0004868182,0.0008370381,0.03419087,0.005363807,0.0008517109,0.002454838,0.004509095],"category_scores_gemma":[0.003804841,0.0003852234,0.0002713354,0.0007801332,0.01545838,0.002791694,0.004183088,0.004780882,0.0003647326],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01035419,"about_ca_system_score_gemma":0.005084372,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3045722,"about_ca_topic_score_gemma":0.5493031,"domain_scores_codex":[0.9973475,0.001391838,0.00003226507,0.000137392,0.0003494362,0.0007416456],"domain_scores_gemma":[0.9985486,0.0005898742,0.00006805568,0.00003989159,0.0002036487,0.0005498683],"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":[0.00003471952,0.00002627138,0.000618256,0.00004165448,0.000004080487,0.0009211359,0.9740183,0.00003046545,0.0009275126,0.007212957,0.01172417,0.0044405],"study_design_scores_gemma":[0.000003772382,0.00002137714,0.002091434,0.0001474024,0.000004910153,0.0003663411,0.8540124,0.00004601017,0.0004252627,0.0003429806,0.1425158,0.00002250515],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.7678439,0.004338876,0.001223165,0.0477352,0.002103725,0.0001022171,0.00007325286,0.00007001378,0.1765097],"genre_scores_gemma":[0.9571587,0.001395747,0.0004914798,0.004127795,0.0001362418,0.00003237938,0.00001720064,0.00009635034,0.03654413],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.3045722,"threshold_uncertainty_score":0.6055988,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410739399","doi":"10.1386/jafp_00130_5","title":"The Count of Monte Cristo, Alexandre de la Patellière and Matthieu Delaporte (dirs) (2024), France and Belgium: Chapter 2, Pathé, M6 Films, and others1","year":2025,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Path (computing); Humanities; Art; Sociology; Computer science","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01010476918277441,"gpt":0.212014036160219,"spread":0.2019092669774446,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002868775,0.000981515,0.001047103,0.002886983,0.001977078,0.006478892,0.001169726,0.004326337,0.02778585],"category_scores_gemma":[0.01636536,0.0004966295,0.000299427,0.003564204,0.003024933,0.006149506,0.001966357,0.006186115,0.006862758],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006382219,"about_ca_system_score_gemma":0.00585549,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03515484,"about_ca_topic_score_gemma":0.03990488,"domain_scores_codex":[0.9966959,0.001004122,0.0001421804,0.0006331445,0.001307645,0.0002170112],"domain_scores_gemma":[0.9933882,0.002821579,0.000429768,0.0001986097,0.002529129,0.0006327412],"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":[0.0000207251,0.00000743769,0.0001379033,0.0004141047,0.000004495379,0.00002443066,0.0001700576,0.00003136911,0.00004900293,0.01240702,0.9287142,0.05801927],"study_design_scores_gemma":[0.000001918059,0.000003955681,0.0003261587,0.0004348364,0.000002368342,0.00006789526,0.0000859346,0.00000916592,0.00002931025,0.0006442515,0.998389,0.000005324402],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.0004141211,0.7803125,0.0002409342,0.1664658,0.02425563,0.00001077625,0.0002207915,0.00004020275,0.02803921],"genre_scores_gemma":[0.02054201,0.702551,0.001035105,0.06636381,0.05657184,0.00007068358,0.000531219,0.0003424761,0.1519919],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.03515484,"threshold_uncertainty_score":0.09295291,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4400880193","doi":"10.1386/jafp_00111_7","title":"The late-period Sherlock Holmes: Nick Lane and Luke Barton on adapting The Valley of Fear","year":2024,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Crime and Detective Fiction Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Period (music); Art; Period length; History; Archaeology; Aesthetics; Mathematics","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03742143766726556,"gpt":0.2478549616085475,"spread":0.2104335239412819,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001841472,0.0004385549,0.0002137889,0.0003937696,0.009478476,0.006252555,0.001049757,0.0025757,0.00790486],"category_scores_gemma":[0.003891439,0.0002743084,0.0001600352,0.0002881929,0.01034447,0.003751272,0.003632685,0.005378853,0.001523536],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004980114,"about_ca_system_score_gemma":0.002051838,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01940241,"about_ca_topic_score_gemma":0.04463159,"domain_scores_codex":[0.997856,0.00135171,0.00002197017,0.0001553071,0.0002951973,0.0003197471],"domain_scores_gemma":[0.9989035,0.0004468955,0.00008991249,0.00005127057,0.0001684349,0.000340023],"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":[0.0001382091,0.00005529899,0.0008411357,0.0001256687,0.000006004135,0.001246062,0.5967263,0.0001020225,0.001667497,0.1745627,0.2046678,0.01986121],"study_design_scores_gemma":[0.000006251817,0.00003746031,0.0004790423,0.0002106328,0.000003389388,0.0004998044,0.2214636,0.00007259101,0.0006939428,0.004536069,0.7719688,0.00002833697],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2614458,0.01531226,0.006008714,0.1779902,0.009040959,0.00009694432,0.0001346534,0.0002421135,0.5297284],"genre_scores_gemma":[0.7836398,0.002081963,0.0009879406,0.01405518,0.0005915405,0.00006120897,0.00003274381,0.0002340234,0.1983157],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01940241,"threshold_uncertainty_score":0.03857899,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2936725952","doi":"10.1386/jafp.11.3.271_1","title":"Beyond Othello: Performing stages of resistance to racial surveillance in Djanet Sears’ Harlem Duet","year":2018,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theatre and Performance Studies","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":"Oppression; Performative utterance; Emancipation; Resistance (ecology); Sociology; Gender studies; White (mutation); Power (physics); Racism; Performativity; Politics; Privilege (computing); Carnivalesque; Covert; Aesthetics; Law; Art; Political science","authors":[{"name":"Valentina Rapetti","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02432254714630679,"gpt":0.2480706143145659,"spread":0.2237480671682591,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002397416,0.0008862181,0.0004838818,0.001634472,0.03833956,0.01049763,0.001325488,0.002381317,0.007298251],"category_scores_gemma":[0.003863962,0.0003587992,0.0002889495,0.001267145,0.02664817,0.003002414,0.007292943,0.004076657,0.0007629953],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02332119,"about_ca_system_score_gemma":0.01146706,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.5655768,"about_ca_topic_score_gemma":0.7711198,"domain_scores_codex":[0.9959356,0.001521855,0.0000455862,0.0003260673,0.0007650953,0.001405906],"domain_scores_gemma":[0.9985839,0.0003436834,0.000112655,0.00006980911,0.0003255784,0.0005644665],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004561257,0.00002612255,0.001184959,0.00004306987,0.000004420649,0.0008285854,0.9530987,0.00005186519,0.0007559332,0.02751773,0.009030858,0.007412029],"study_design_scores_gemma":[0.000004766785,0.00002353429,0.003125182,0.00014795,0.000004841989,0.0002762009,0.7173288,0.00006450133,0.0003962128,0.00139838,0.2771945,0.00003512721],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6039391,0.002766153,0.001915592,0.01617679,0.0007188767,0.00009371499,0.0001008558,0.00008953628,0.3741995],"genre_scores_gemma":[0.9293356,0.0008323104,0.0006851722,0.001964571,0.00006212473,0.00003985033,0.0000417835,0.0001504374,0.06688805],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5655768,"threshold_uncertainty_score":0.8739632,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410739392","doi":"10.1386/jafp_00128_1","title":"Finding Grace, finding ourselves in Mary Harron’s Alias Grace1","year":2025,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Crime, Deviance, and Social Control","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Alias; Philosophy; Theology; Computer science; Database","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03948014828044599,"gpt":0.338371019116223,"spread":0.298890870835777,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001932941,0.000427187,0.000274546,0.0005330995,0.01246165,0.007138141,0.0008130273,0.001633763,0.005926044],"category_scores_gemma":[0.006078072,0.000274657,0.0002077553,0.0005322944,0.01738035,0.005914819,0.005118537,0.005340606,0.001006189],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004184117,"about_ca_system_score_gemma":0.001809883,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01048013,"about_ca_topic_score_gemma":0.02539255,"domain_scores_codex":[0.9980861,0.001101935,0.00003178916,0.0001881755,0.0003150746,0.0002769411],"domain_scores_gemma":[0.9986702,0.0004919357,0.0001435818,0.0001599841,0.0001676778,0.0003666567],"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":[0.00007365972,0.00005370964,0.001040842,0.00005707506,0.000005680369,0.001078318,0.5864109,0.00005636984,0.0007084779,0.2982145,0.09804577,0.01425472],"study_design_scores_gemma":[0.00000485444,0.00002851007,0.0008686761,0.0001396723,0.000005479512,0.000577946,0.233985,0.00007140817,0.0005804967,0.01731441,0.7464012,0.00002228575],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2480608,0.007235415,0.004515375,0.1569082,0.003389472,0.0000695276,0.0001098785,0.0002206687,0.5794908],"genre_scores_gemma":[0.8746321,0.001395466,0.0009486098,0.00669898,0.0003924051,0.00003586146,0.00002553357,0.000231436,0.1156395],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01246165,"threshold_uncertainty_score":0.03035802,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2593226347","doi":"10.1386/jafp.9.3.287_1","title":"The roads to Gissing’s Grub Street: An interview with Christopher Douglas","year":2016,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Drama; George (robot); Publishing; Art history; Performance art; Art; Poetry; History; Sociology; Media studies; Literature","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04423691136573898,"gpt":0.241120673055121,"spread":0.196883761689382,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002133111,0.000485922,0.0005495266,0.001216663,0.02774351,0.007415649,0.001190328,0.004411038,0.01484513],"category_scores_gemma":[0.006213658,0.0006448424,0.0002054793,0.002095843,0.01339447,0.004900245,0.004359901,0.007553533,0.002248247],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01017043,"about_ca_system_score_gemma":0.005897237,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1205293,"about_ca_topic_score_gemma":0.2112992,"domain_scores_codex":[0.9971526,0.00140797,0.00003866477,0.0002697202,0.000466297,0.000664728],"domain_scores_gemma":[0.9974048,0.001188309,0.0001947125,0.00008082576,0.0003705544,0.0007607747],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001464575,0.00002954903,0.0009063686,0.00006070293,0.00000306232,0.004109184,0.8663618,0.00005256609,0.0003825123,0.02095179,0.1015584,0.005569331],"study_design_scores_gemma":[0.000001629875,0.000007241842,0.0006354032,0.0001399868,0.000001754179,0.0005572616,0.6333975,0.00002464541,0.00008054828,0.0009763103,0.3641618,0.00001577858],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4120369,0.01009696,0.001119289,0.233694,0.002195389,0.0001091263,0.0002014021,0.0001609649,0.3403859],"genre_scores_gemma":[0.8523699,0.004280078,0.0007957824,0.02796903,0.0002623817,0.000109095,0.00007738056,0.0002630963,0.1138733],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1205293,"threshold_uncertainty_score":0.2396555,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7125814607","doi":"10.1386/jafp_00137_5","title":"The Prince of Egypt: Live from the West End, Scott Schwartz And Brett Sullivan (dirs) (2023), UK: Dreamworks Theatricals, Steam Motion and Sound, and Universal Pictures Content Group","year":2025,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Motion (physics); Content (measure theory); Group (periodic table); Motion picture","authors":[{"name":"Tom Ue","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01837188108115665,"gpt":0.1994766945111601,"spread":0.1811048134300035,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001450885,0.0005061154,0.0004565783,0.001392625,0.002060555,0.004807101,0.000745366,0.002330364,0.02348172],"category_scores_gemma":[0.002201037,0.0002940281,0.0002211811,0.002254909,0.001791034,0.003242189,0.002702435,0.002768878,0.004033135],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003056347,"about_ca_system_score_gemma":0.006007019,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05894727,"about_ca_topic_score_gemma":0.1544497,"domain_scores_codex":[0.9995328,0.0001031918,0.00005956552,0.00004244939,0.0001765518,0.00008538114],"domain_scores_gemma":[0.9990715,0.0001683914,0.00009545978,0.00002227066,0.0004200194,0.0002222942],"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":[0.00006199375,0.00001619262,0.0004451668,0.003318764,0.00001318456,0.0002083792,0.003751066,0.00002940489,0.0002217692,0.004145578,0.7924919,0.1952967],"study_design_scores_gemma":[0.000004818357,0.000008269799,0.001923595,0.001706942,0.000007094518,0.0002003463,0.004473512,0.000002312986,0.00004190529,0.0002219988,0.9914042,0.000005026216],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.0009842318,0.9267853,0.00006527847,0.04462745,0.0092502,0.00001326725,0.0001541685,0.00001371181,0.01810647],"genre_scores_gemma":[0.01588883,0.8650392,0.0002326105,0.0217927,0.006805347,0.00002360336,0.0003690705,0.0000468652,0.08980179],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.05894727,"threshold_uncertainty_score":0.1172083,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}