{"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003970681,0.0001023911,0.0002428496,0.0004327906,0.00002944534,0.00002366029,0.0001684749,0.00008200102,0.00009429205],"category_scores_gemma":[0.0001376884,0.00009291208,0.0001178141,0.0006319804,0.0000405129,0.00005703333,0.00002546146,0.0001504288,0.00001728956],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004031578,"about_ca_system_score_gemma":0.0001414979,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000347971,"about_ca_topic_score_gemma":0.00004437396,"domain_scores_codex":[0.9986682,0.00008220533,0.0006337988,0.0001211895,0.0003224544,0.0001721824],"domain_scores_gemma":[0.9986749,0.00003131279,0.0005251705,0.0001716064,0.0005322248,0.00006483441],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.0005714191,0.0003021184,0.1340722,0.0002538859,0.0006605358,0.000009109185,0.00297321,0.3046737,0.5408881,0.00002787638,0.0009948541,0.01457304],"study_design_scores_gemma":[0.0009886917,0.0009139067,0.7212244,0.00009132879,0.00009941563,0.00004796912,0.0008823292,0.2366106,0.03843288,0.00002161686,0.0005060771,0.0001807352],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9956548,0.0002935376,0.003479982,0.00006855805,0.0001021728,0.0001263612,0.000002839186,0.000001906858,0.0002698163],"genre_scores_gemma":[0.9956452,0.0003599534,0.003629457,0.0000254507,0.00008590199,0.000009745609,0.00002485941,0.000009693776,0.0002097125],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5871523,"threshold_uncertainty_score":0.3788845,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008495809,0.0001063772,0.0001958678,0.000121734,0.0003847909,0.0001705447,0.0001905152,0.00003113941,0.0001549882],"category_scores_gemma":[0.0002057075,0.00005852505,0.00007057966,0.00006784224,0.0004893847,0.0009945476,0.00001544496,0.0004236295,0.000002791672],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000120654,"about_ca_system_score_gemma":0.00005997449,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001321379,"about_ca_topic_score_gemma":0.0007036366,"domain_scores_codex":[0.9988121,0.00007804448,0.0006274743,0.00007723529,0.0002738385,0.0001312852],"domain_scores_gemma":[0.9985254,0.0003893775,0.0004786669,0.0001087757,0.0004659805,0.00003174409],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0004267351,0.00006157189,0.002758715,0.00009836595,0.00006760834,0.000004325525,0.64993,0.002859933,0.0005130015,0.3202617,0.0004997015,0.02251835],"study_design_scores_gemma":[0.01242,0.0007083212,0.1719861,0.00139553,0.00027652,0.0003733738,0.3759748,0.2218171,0.001210835,0.007044382,0.2060272,0.0007658132],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9907845,0.001202389,0.0000973423,0.0005285547,0.000858142,0.0001478147,0.00000457043,0.000006754253,0.006369901],"genre_scores_gemma":[0.9978818,0.0003384468,0.0004594428,0.0001769071,0.0004238387,0.000008220173,0.00000208447,0.000008893199,0.0007003521],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3132173,"threshold_uncertainty_score":0.2959539,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007047711,0.00006295002,0.0001370245,0.0001579612,0.00003472576,0.00001049179,0.00009504739,0.00004922879,0.00003957539],"category_scores_gemma":[0.00007909565,0.00004633741,0.00002549562,0.0001705793,0.00004961641,0.0001726266,0.00001008261,0.0001852225,0.000005993385],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002023634,"about_ca_system_score_gemma":0.00003191265,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003298105,"about_ca_topic_score_gemma":0.0001101813,"domain_scores_codex":[0.9990337,0.00008737961,0.0005303583,0.00006775205,0.000166754,0.0001140228],"domain_scores_gemma":[0.9991859,0.000172468,0.0004077505,0.0001022063,0.0001039665,0.00002774161],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0004979567,0.0001242265,0.6786706,0.00003751916,0.00001630463,0.000006860691,0.009673655,0.0005191977,0.003244629,0.001343672,0.000342286,0.3055231],"study_design_scores_gemma":[0.001070999,0.0002401573,0.993521,0.00006781344,0.00001044852,0.00002529589,0.001334631,0.002289247,0.0003592339,0.0001394187,0.0008884131,0.00005338604],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9979628,0.0004166692,0.0001413899,0.0002333038,0.0004032578,0.00007532511,7.438767e-7,0.000002019387,0.0007644646],"genre_scores_gemma":[0.9992864,0.0002554418,0.0002113031,0.00002871799,0.00004412112,0.000005199342,0.000001036226,0.000005701482,0.0001620439],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3148504,"threshold_uncertainty_score":0.1889585,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003303134,0.0001203392,0.0001899709,0.0002305566,0.0001456464,0.0001105224,0.0001051227,0.00002774056,0.0003255313],"category_scores_gemma":[0.00001991566,0.0001016896,0.00005195419,0.00005241672,0.00009754759,0.0009075534,0.000005733282,0.000152883,0.00001086866],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002300488,"about_ca_system_score_gemma":0.0000173513,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000141853,"about_ca_topic_score_gemma":0.00009951473,"domain_scores_codex":[0.9989473,0.00004907067,0.0004806546,0.0001055322,0.0002578328,0.0001595671],"domain_scores_gemma":[0.9994994,0.00008924169,0.0001388507,0.00007813457,0.0001270092,0.00006730721],"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":[0.0004912145,0.0003580117,0.008540022,0.001000257,0.0001575514,0.00004037511,0.69042,0.007429061,0.0001954365,0.1034894,0.002488029,0.1853907],"study_design_scores_gemma":[0.006662619,0.001557408,0.1945313,0.001758862,0.0002360472,0.00009462662,0.1013092,0.1203942,0.0003660817,0.004253959,0.5678421,0.0009936402],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.983876,0.0005855193,0.0006471798,0.0002594883,0.000693781,0.0001010904,0.000003814031,0.00001262356,0.01382049],"genre_scores_gemma":[0.9964245,0.0006196064,0.0009209904,0.0001865357,0.0003662596,0.000006016649,0.000005653842,0.00001323233,0.00145719],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5891109,"threshold_uncertainty_score":0.4146782,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003087078,0.00006440572,0.0001455422,0.00005417461,0.0002003885,0.00005492201,0.00004056072,0.00001602909,0.00007392224],"category_scores_gemma":[0.0000332324,0.00003384231,0.00003745962,0.00003990452,0.0002003195,0.0001716257,0.00001785224,0.0001535493,0.000001894984],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001317704,"about_ca_system_score_gemma":0.00002697666,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002943782,"about_ca_topic_score_gemma":0.0003050454,"domain_scores_codex":[0.9994099,0.0000607084,0.0002479946,0.00005627753,0.000160854,0.00006433023],"domain_scores_gemma":[0.9993045,0.0002500277,0.0001797851,0.000059925,0.0001920769,0.00001368249],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.005809616,0.0004216601,0.01205996,0.0004317391,0.001029429,0.0000450552,0.5405347,0.02149043,0.001083564,0.3311276,0.02735128,0.05861494],"study_design_scores_gemma":[0.009212475,0.001902948,0.3320704,0.0006166688,0.0002534118,0.0002759216,0.4342027,0.01511315,0.003371583,0.005534322,0.197001,0.0004453885],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9921423,0.001726256,0.00005176874,0.001288534,0.0002683458,0.00005538283,0.000003068224,0.000002586577,0.004461806],"genre_scores_gemma":[0.9970856,0.001333009,0.00002686183,0.0002234511,0.0001874318,0.000002293438,3.71551e-7,0.000004128673,0.001136799],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3255932,"threshold_uncertainty_score":0.1541246,"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":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001574424,0.0001831202,0.0002687608,0.0002370383,0.002070638,0.0001227525,0.0002278546,0.00003998515,0.0006209267],"category_scores_gemma":[0.00006683226,0.0001423931,0.00004775017,0.0001194366,0.0002047746,0.001024352,0.0001279126,0.0006325974,0.000009977046],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003336541,"about_ca_system_score_gemma":0.0001406474,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004582783,"about_ca_topic_score_gemma":0.001917726,"domain_scores_codex":[0.9981073,0.0004139662,0.0007371235,0.0001500942,0.000393667,0.0001978481],"domain_scores_gemma":[0.9989442,0.0001117105,0.0004049932,0.000183493,0.0002667114,0.00008894152],"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":[0.001330312,0.0002280678,0.005918374,0.0002085142,0.00009494013,0.000006623638,0.7566445,0.1606313,0.0006843347,0.001471658,0.01268839,0.06009298],"study_design_scores_gemma":[0.003390241,0.001636158,0.01675256,0.0002047601,0.0001012656,0.0001015147,0.1228088,0.08766587,0.0002748318,0.00009077179,0.7665089,0.000464353],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9949769,0.001017301,0.0002337636,0.0006034745,0.0006849896,0.0003641076,0.00002796496,0.00001516006,0.002076306],"genre_scores_gemma":[0.9947074,0.001154018,0.0002312079,0.001188399,0.000188061,0.00006557265,0.00003812208,0.00002254685,0.002404675],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7538205,"threshold_uncertainty_score":0.9992285,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001650476,0.0002030308,0.000423351,0.0003369634,0.0001677832,0.00007229541,0.0002930677,0.0001318216,0.001202301],"category_scores_gemma":[0.0001273065,0.0001462911,0.0001118072,0.0003332319,0.00006574296,0.0006467878,0.00002010752,0.0004862748,0.00004890742],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004591943,"about_ca_system_score_gemma":0.00009698576,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000221885,"about_ca_topic_score_gemma":0.0001500165,"domain_scores_codex":[0.9975545,0.0002977959,0.001192892,0.0001754346,0.0005404764,0.0002388364],"domain_scores_gemma":[0.9973136,0.0002185093,0.001470547,0.0003014831,0.0006021081,0.00009371957],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.002657218,0.000736607,0.1532037,0.0008875479,0.000671463,0.00003027826,0.4129628,0.02135885,0.004398152,0.0008469857,0.06989707,0.3323493],"study_design_scores_gemma":[0.006114432,0.002221376,0.6649569,0.001200496,0.0002948298,0.0005815686,0.05637576,0.2577449,0.001034172,0.0008428147,0.008074636,0.0005580526],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9878469,0.00174356,0.002823264,0.004513139,0.0006515988,0.0002311051,0.00001328938,0.000008285393,0.00216883],"genre_scores_gemma":[0.9949785,0.00104236,0.0012519,0.0009575929,0.0003700248,0.000009154205,0.000005877903,0.00002292677,0.001361625],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5117532,"threshold_uncertainty_score":0.9997107,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065823,0.00007085112,0.0001285985,0.0001253969,0.0001251032,0.00006450737,0.00009527897,0.00002153552,0.00004151601],"category_scores_gemma":[0.00003950595,0.00004067519,0.00002155413,0.00008374222,0.0002501798,0.0008507232,0.000005401978,0.0001336513,8.96484e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001596418,"about_ca_system_score_gemma":0.00005839314,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001098014,"about_ca_topic_score_gemma":0.001412686,"domain_scores_codex":[0.9990888,0.00008705863,0.0004259238,0.00006076745,0.0002422397,0.00009519465],"domain_scores_gemma":[0.9990497,0.0001804619,0.0003606095,0.00009301004,0.0002981122,0.00001816824],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.001098037,0.0001337114,0.01321989,0.0001275261,0.00004131289,0.00001004413,0.9452446,0.001110178,0.0003445946,0.02573592,0.0003175072,0.0126167],"study_design_scores_gemma":[0.00487897,0.004594936,0.3638619,0.001163515,0.00009818452,0.0001907896,0.485045,0.08915598,0.001986156,0.001420759,0.0472363,0.0003675409],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9967474,0.0001541487,0.00003851785,0.0001769323,0.0001466521,0.00009434747,0.000005756961,0.000002084175,0.002634214],"genre_scores_gemma":[0.9991081,0.0001131026,0.0002871471,0.00008444879,0.0001941401,0.000001983154,0.000003976602,0.000005816883,0.0002013214],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4601996,"threshold_uncertainty_score":0.1658686,"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 &amp; 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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008360086,0.00012055,0.0002270626,0.0002891341,0.000120781,0.00007160167,0.000123919,0.00003710045,0.000331278],"category_scores_gemma":[0.00009569537,0.00009263497,0.00004854264,0.0001237979,0.0001421881,0.001355996,0.00001546801,0.0002037031,0.00001123192],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003989477,"about_ca_system_score_gemma":0.00005704939,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001377605,"about_ca_topic_score_gemma":0.001126582,"domain_scores_codex":[0.9985425,0.00008725413,0.0007806229,0.00008487441,0.0003033777,0.0002013247],"domain_scores_gemma":[0.998982,0.0001609065,0.0004346544,0.0001097485,0.0002592245,0.0000535326],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0002033588,0.0002946724,0.08223783,0.0003065153,0.00005521452,0.000004379713,0.8772843,0.01039251,0.0002061151,0.01624583,0.002452198,0.01031701],"study_design_scores_gemma":[0.001836815,0.0003080701,0.6867703,0.000935051,0.00008331121,0.00006943382,0.0494393,0.04656961,0.00020899,0.001028143,0.2123473,0.0004037187],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.99383,0.0007139671,0.0006547924,0.0002705198,0.0005670611,0.0001092582,0.00000710378,0.000005499022,0.003841748],"genre_scores_gemma":[0.9968982,0.0001595272,0.000798993,0.0001125522,0.0002937084,0.000004076105,0.000007148596,0.00001116527,0.001714655],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8278451,"threshold_uncertainty_score":0.3777545,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001290582,0.0001162766,0.0002385202,0.0001160567,0.0001714285,0.00004034234,0.0003532286,0.00001652516,0.00006090106],"category_scores_gemma":[0.00001736951,0.0000469817,0.00007620749,0.0001665445,0.0002265237,0.0003264621,0.0000248099,0.0002957979,0.000001204187],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001831004,"about_ca_system_score_gemma":0.00004234214,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007725073,"about_ca_topic_score_gemma":0.004868744,"domain_scores_codex":[0.9987395,0.0002097357,0.0005313526,0.00006777971,0.0003149363,0.0001367081],"domain_scores_gemma":[0.9988085,0.000245612,0.0005795835,0.0002022172,0.0001509946,0.00001307537],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0007442613,0.0003238723,0.0731249,0.000550935,0.000154762,0.000002345338,0.8057476,0.02760875,0.0000897557,0.02386822,0.0009336275,0.066851],"study_design_scores_gemma":[0.003875213,0.004176839,0.5217298,0.006127616,0.0003088984,0.0001028005,0.2614537,0.03214261,0.002106486,0.001548381,0.1658107,0.0006169741],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9713545,0.0003553442,0.00002112739,0.0009413605,0.0002772321,0.0001302359,0.000003373369,0.000002369858,0.02691443],"genre_scores_gemma":[0.9988255,0.00024107,0.0001078081,0.0002239585,0.0002361773,0.000005220756,5.910076e-7,0.000008636768,0.0003510178],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5442938,"threshold_uncertainty_score":0.2716873,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000252355,0.0000823541,0.0001422964,0.0001997692,0.00013505,0.00003386287,0.00008852988,0.00001920848,0.0009529985],"category_scores_gemma":[0.00003548981,0.00004879192,0.00005626705,0.00004502792,0.0001253112,0.001422275,0.0000101868,0.0001081605,0.00005511316],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006786628,"about_ca_system_score_gemma":0.00005529121,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001444158,"about_ca_topic_score_gemma":0.0001567465,"domain_scores_codex":[0.9992568,0.00002245218,0.0003332751,0.00006714261,0.0001917831,0.0001285647],"domain_scores_gemma":[0.9992737,0.00007238489,0.0002838827,0.00006435662,0.0002782778,0.00002741414],"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":[0.000959348,0.0003907805,0.01607762,0.0001008925,0.0001962087,0.00002432059,0.7105404,0.001263708,0.0009030019,0.07458401,0.02258152,0.1723782],"study_design_scores_gemma":[0.003092055,0.001489857,0.05470228,0.0008910443,0.00005328485,0.00008972571,0.2140482,0.0008605995,0.001017366,0.001566937,0.7217131,0.0004755443],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9603295,0.0005478179,0.0001400601,0.002059438,0.0007512489,0.00005617246,0.000006139252,0.00001230653,0.03609734],"genre_scores_gemma":[0.9937526,0.001635348,0.0001803067,0.00006268861,0.000710133,0.000003566301,4.212108e-7,0.000007112894,0.003647824],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6991315,"threshold_uncertainty_score":0.9999602,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002415857,0.00006644778,0.0001432128,0.00005704791,0.0001084374,0.00005785728,0.0000667469,0.0000240776,0.00001473097],"category_scores_gemma":[0.00004939332,0.00004170293,0.00003016585,0.00005842187,0.00007563368,0.0004173613,0.00001221771,0.0002110298,0.000001144447],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000159779,"about_ca_system_score_gemma":0.00002500148,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009148468,"about_ca_topic_score_gemma":0.0002809098,"domain_scores_codex":[0.9993118,0.000038339,0.0003710647,0.00005378855,0.000145543,0.00007943413],"domain_scores_gemma":[0.9994614,0.00004871869,0.0002804965,0.0000314847,0.00015749,0.0000203954],"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":[0.0005162854,0.00005564337,0.04371016,0.0002284161,0.00007416589,0.00001135781,0.8523681,0.00237971,0.0004810039,0.08548093,0.007310858,0.0073834],"study_design_scores_gemma":[0.002452253,0.001495196,0.3456679,0.001543298,0.00006964422,0.0000260448,0.2032874,0.00663933,0.0006001364,0.001490512,0.4363628,0.0003655115],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9923055,0.002969091,0.000005034312,0.001793262,0.0002065764,0.00006446093,0.000002510561,0.000003004986,0.002650632],"genre_scores_gemma":[0.9983999,0.0008621567,0.00008290002,0.0001259268,0.0002607442,0.000002035279,0.00000122462,0.000003363206,0.0002618186],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6490807,"threshold_uncertainty_score":0.1700596,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001288136,0.0001590507,0.0002509451,0.0004313058,0.0002034443,0.0002011625,0.0002475411,0.00004519306,0.0009135373],"category_scores_gemma":[0.0002287796,0.0001164268,0.00008028634,0.0001860833,0.00009721871,0.001646336,0.000008057732,0.0004019243,0.00005218614],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000590223,"about_ca_system_score_gemma":0.000105163,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00009217483,"about_ca_topic_score_gemma":0.0007361794,"domain_scores_codex":[0.9980199,0.0002201878,0.0009290626,0.0001429587,0.0004786287,0.000209297],"domain_scores_gemma":[0.9986035,0.0002526086,0.0004356503,0.0001807244,0.0004872204,0.00004033106],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"simulation_or_modeling","study_design_scores_codex":[0.000389505,0.0003473899,0.0010972,0.0002903366,0.00003649857,0.00001596904,0.7458092,0.1114211,0.00007448006,0.1030717,0.01064232,0.02680421],"study_design_scores_gemma":[0.002979639,0.001629731,0.08230095,0.0005956641,0.00007535468,0.0002120048,0.165496,0.4441604,0.00006304511,0.003666772,0.2982861,0.0005343303],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9799501,0.0002949983,0.0009496294,0.005644549,0.001716841,0.0002388597,0.000005493649,0.00001745082,0.01118212],"genre_scores_gemma":[0.9942659,0.00007974491,0.0008225345,0.0008499145,0.002556155,0.00001472548,0.0000259432,0.00001523481,0.001369866],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5803132,"threshold_uncertainty_score":0.9999998,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006179996,0.0001181928,0.000153564,0.0002612451,0.0004176357,0.0002102063,0.0002083898,0.00003108785,0.0003340032],"category_scores_gemma":[0.0001027206,0.0000799521,0.00008681408,0.0001458118,0.0001103788,0.000729347,0.00001140578,0.0002619421,0.0001934474],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004677108,"about_ca_system_score_gemma":0.00007087774,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000243792,"about_ca_topic_score_gemma":0.0001478839,"domain_scores_codex":[0.9986202,0.000063768,0.0005824775,0.00009935674,0.000411253,0.000222915],"domain_scores_gemma":[0.9989643,0.0003224201,0.0002699729,0.0001371201,0.000264818,0.00004141846],"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":[0.001419956,0.0002649953,0.003385423,0.0002037506,0.0001391577,0.0001324915,0.6117817,0.05203758,0.0001271082,0.0584881,0.1728276,0.09919221],"study_design_scores_gemma":[0.0009715472,0.0006338346,0.02126674,0.0003215867,0.00001926376,0.00001809808,0.02552148,0.03809585,0.0001322424,0.0008721193,0.9119425,0.0002046792],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9810227,0.0002435406,0.00001393201,0.001224627,0.001781891,0.0001022638,0.000009603761,0.00003367649,0.0155678],"genre_scores_gemma":[0.9853473,0.0006604471,0.00005759005,0.0003707442,0.000830242,0.000008005807,0.000008548086,0.00001758119,0.01269955],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.739115,"threshold_uncertainty_score":0.3657101,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004700907,0.00009791021,0.0001313527,0.0001496987,0.0005955469,0.0002554075,0.0001995305,0.00001248317,0.0003441657],"category_scores_gemma":[0.00001851883,0.00007018961,0.00004966853,0.00005014579,0.00008028046,0.0009140809,0.00005000652,0.0003993189,0.00000357189],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000828131,"about_ca_system_score_gemma":0.0000448598,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006134114,"about_ca_topic_score_gemma":0.0005827929,"domain_scores_codex":[0.9989877,0.00004906612,0.0003647884,0.00008143541,0.0003630216,0.0001539287],"domain_scores_gemma":[0.9994131,0.00009903454,0.0002813886,0.0000880172,0.00008437329,0.00003407973],"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":[0.001582419,0.0006127603,0.01783496,0.0002779642,0.0001935335,0.0001441002,0.4655641,0.08450606,0.00003571613,0.2318325,0.02456106,0.1728548],"study_design_scores_gemma":[0.001282374,0.002142384,0.04013198,0.0002010791,0.00003555947,0.0001544534,0.07469681,0.01392065,0.00002849854,0.001760829,0.8652959,0.0003494709],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9694476,0.0003028805,0.000006394164,0.0004334446,0.0005705526,0.00008649153,0.00001451019,0.000006262906,0.02913194],"genre_scores_gemma":[0.9934861,0.00008913154,0.00001738278,0.0005955732,0.0002769115,0.00001086171,0.000003434893,0.00000988795,0.005510721],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8407348,"threshold_uncertainty_score":0.4580525,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006220818,0.0002717906,0.0003713481,0.00009422248,0.0007121972,0.0003270546,0.0004858853,0.00008257221,0.0005168768],"category_scores_gemma":[0.00004322407,0.0001289937,0.0001706138,0.0001935921,0.0004083706,0.0006296472,0.00007523548,0.0006324376,0.000005602085],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003063166,"about_ca_system_score_gemma":0.0002757901,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002650788,"about_ca_topic_score_gemma":0.00662856,"domain_scores_codex":[0.9979495,0.0001880506,0.0008207513,0.0002017918,0.0005102603,0.0003296277],"domain_scores_gemma":[0.9982935,0.0004188608,0.0005477326,0.0003114711,0.0003234552,0.0001050504],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001840429,0.0002704856,0.02252383,0.0002338486,0.0006549478,0.00008034632,0.2639516,0.0229028,0.001606977,0.02402036,0.03323312,0.6286812],"study_design_scores_gemma":[0.00233792,0.001163438,0.0330504,0.001018461,0.0002492417,0.0003598194,0.07293265,0.00250028,0.003122669,0.01276548,0.8697744,0.0007252583],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9449052,0.01468634,0.0001229303,0.004727941,0.001360887,0.0003626816,0.00004302007,0.00002232716,0.03376867],"genre_scores_gemma":[0.9902558,0.005252951,0.0002417673,0.0005097166,0.0009122682,0.000008071194,0.00000706637,0.00001905041,0.002793257],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8365413,"threshold_uncertainty_score":0.5659438,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004931319,0.0001009504,0.0001519687,0.0004748896,0.0001765548,0.00007624752,0.0001265514,0.00003058553,0.0001459202],"category_scores_gemma":[0.00001616072,0.00006418176,0.00002653252,0.000172004,0.0001359683,0.0007427823,0.00000491364,0.0002266883,0.00001768339],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001472659,"about_ca_system_score_gemma":0.0001713338,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03107061,"about_ca_topic_score_gemma":0.7558801,"domain_scores_codex":[0.9990457,0.00006698257,0.0003639955,0.00008765786,0.0002361739,0.0001994796],"domain_scores_gemma":[0.9994855,0.00006351781,0.0001945052,0.0000873686,0.0001412454,0.00002785476],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.001336169,0.00008528812,0.1370592,0.00003322658,0.00002228109,0.00002165938,0.8316161,0.009421276,0.00001278508,0.002231248,0.001492399,0.01666836],"study_design_scores_gemma":[0.003363336,0.002742385,0.7066694,0.0008063124,0.00002857613,0.00003258626,0.1927945,0.0168286,0.000332241,0.0003415636,0.07570539,0.0003550769],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9791922,0.00006924316,0.000003236735,0.001207783,0.0003145069,0.0001489627,0.000004362961,0.000003389191,0.01905631],"genre_scores_gemma":[0.9988477,0.000140207,0.00003217134,0.0003033995,0.0005166159,0.00001076058,0.000005658263,0.000006724933,0.0001367936],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7248095,"threshold_uncertainty_score":0.9753816,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004752146,0.0001337046,0.0002470555,0.0003477769,0.0001275243,0.0001305649,0.00009098129,0.00003930161,0.0005558853],"category_scores_gemma":[0.00008806922,0.0001171109,0.00003137816,0.00009745898,0.0001084894,0.001297305,0.00001404855,0.0002133051,0.00001000565],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003220192,"about_ca_system_score_gemma":0.00006225323,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000838309,"about_ca_topic_score_gemma":0.00180386,"domain_scores_codex":[0.9987516,0.00007478159,0.0006372037,0.0001377244,0.0002187536,0.0001798852],"domain_scores_gemma":[0.9991596,0.0001612602,0.0002561571,0.00008537296,0.0002617295,0.00007591751],"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":[0.0007418263,0.0004242561,0.0566373,0.0005647637,0.0001118595,0.00001811054,0.5079013,0.022517,0.00009354526,0.1715802,0.003077492,0.2363323],"study_design_scores_gemma":[0.003390997,0.00101571,0.3298247,0.0006522795,0.0000597338,0.00006952523,0.03033458,0.2302842,0.00006027296,0.004581755,0.3992219,0.000504293],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.984614,0.0008624892,0.0005826727,0.0004436893,0.0003399238,0.0001330753,0.00001115385,0.000006081646,0.01300696],"genre_scores_gemma":[0.9943231,0.001872986,0.001963988,0.0002437885,0.0001700097,0.000007014107,0.00001149799,0.00001164459,0.00139602],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4775667,"threshold_uncertainty_score":0.6086553,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004504124,0.0001188091,0.0001566569,0.0001621785,0.0004928679,0.0001685352,0.0002209162,0.0000329857,0.0006712545],"category_scores_gemma":[0.00006118952,0.00008189209,0.00009447381,0.00007038483,0.0001971149,0.0007178539,0.00001140084,0.000164307,0.00002790669],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004810912,"about_ca_system_score_gemma":0.00008150421,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004160884,"about_ca_topic_score_gemma":0.0006758561,"domain_scores_codex":[0.9988499,0.00002614998,0.0005496659,0.0001003954,0.000265869,0.0002079971],"domain_scores_gemma":[0.9987494,0.0002090042,0.000305433,0.0001108806,0.0005806152,0.00004467327],"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":[0.002588998,0.0004417547,0.003829281,0.0003092701,0.000192609,0.00001344383,0.7016625,0.003624554,0.0001512709,0.1986017,0.02961446,0.05897011],"study_design_scores_gemma":[0.00097505,0.0008365604,0.01144164,0.0001334658,0.00003578761,0.00001971878,0.02045942,0.03319475,0.00009596418,0.000331626,0.932333,0.0001430506],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9749666,0.001538241,0.001245907,0.001803242,0.005301179,0.0004131799,0.00002965214,0.00002503717,0.01467698],"genre_scores_gemma":[0.9936408,0.0003628713,0.0005239048,0.0004666992,0.002642707,0.00001195984,0.000006124858,0.00001621471,0.002328729],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9027185,"threshold_uncertainty_score":0.7349766,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005087471,0.000188208,0.0003002734,0.000267479,0.0002701951,0.0001919489,0.000231011,0.00006209764,0.00212445],"category_scores_gemma":[0.0001022125,0.0001358354,0.0001347797,0.0001113166,0.0002051539,0.002107442,0.00001988901,0.0003179549,0.00007922148],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006018602,"about_ca_system_score_gemma":0.0001357519,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002168535,"about_ca_topic_score_gemma":0.001680502,"domain_scores_codex":[0.998124,0.0001809898,0.0009781249,0.0001474755,0.0003613663,0.0002080175],"domain_scores_gemma":[0.9979501,0.0004646533,0.0006979496,0.0001889909,0.000625634,0.0000726373],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0004373173,0.0004634245,0.002145818,0.0001861641,0.0002700914,0.0003593893,0.7997131,0.0145826,0.0008267375,0.04425679,0.01272871,0.1240299],"study_design_scores_gemma":[0.00587552,0.001911264,0.09635416,0.001531452,0.0003793803,0.001258951,0.4937866,0.2612515,0.001765799,0.02785012,0.1067459,0.001289459],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9921393,0.001078182,0.0003042103,0.0007727769,0.0007000575,0.0002465202,0.00002994942,0.00001451033,0.004714448],"genre_scores_gemma":[0.9959409,0.0003994278,0.00119105,0.0003587818,0.0006082507,0.0000261617,0.00002672143,0.00002223837,0.001426451],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3059265,"threshold_uncertainty_score":0.9987878,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006226686,0.0001582553,0.0002385748,0.0004946004,0.0003184036,0.000164194,0.0001207409,0.00004939441,0.0001468195],"category_scores_gemma":[0.0001061385,0.0001322386,0.00006616613,0.0001675112,0.00009289096,0.001212698,0.00001343552,0.0002919018,0.0000319583],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000474812,"about_ca_system_score_gemma":0.00007642789,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002491615,"about_ca_topic_score_gemma":0.00004405592,"domain_scores_codex":[0.9985178,0.00008300324,0.0006253158,0.0001484549,0.0003937454,0.0002317286],"domain_scores_gemma":[0.9990586,0.0002600422,0.0003088928,0.00009496976,0.0002015234,0.00007596381],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.001264718,0.0004491357,0.01216953,0.0007521058,0.0001437681,0.0002778051,0.5258049,0.04699635,0.0006774046,0.1776535,0.009221464,0.2245893],"study_design_scores_gemma":[0.00530556,0.00285879,0.4584109,0.004129585,0.0001275592,0.0001727628,0.1303441,0.2367347,0.0008291842,0.007114153,0.1527674,0.001205219],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.990702,0.0003876428,0.00007017745,0.0001951764,0.0008203956,0.0001009332,0.000008379788,0.00004180985,0.007673526],"genre_scores_gemma":[0.9959586,0.000624889,0.0004374397,0.0002054002,0.0006069289,0.000005708331,0.00001179719,0.00002229443,0.002126958],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4462414,"threshold_uncertainty_score":0.5392532,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005092094,0.0001296705,0.0002840843,0.0003494503,0.00005350968,0.00005081851,0.00006127019,0.00005973042,0.000053847],"category_scores_gemma":[0.00003493432,0.00009337054,0.00003614268,0.0003967636,0.00008215941,0.0005070947,0.000006469284,0.0002950429,0.000005335706],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009137711,"about_ca_system_score_gemma":0.0001298612,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001255829,"about_ca_topic_score_gemma":0.0004643649,"domain_scores_codex":[0.9987989,0.00005876334,0.000464969,0.0001500967,0.0003697261,0.0001575375],"domain_scores_gemma":[0.9991361,0.00006705975,0.0002761474,0.000113176,0.0003257761,0.00008168133],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.007130071,0.0006790071,0.4874549,0.0004064635,0.0002623688,0.0003220964,0.4158516,0.02345844,0.001742674,0.0007755966,0.0005855207,0.06133123],"study_design_scores_gemma":[0.00520591,0.0033035,0.69778,0.002048364,0.0001698932,0.0001896537,0.08529779,0.2028351,0.001612491,0.0001368179,0.001107928,0.0003125857],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9974166,0.0001644998,0.0003871627,0.001128016,0.00006725436,0.0001346732,0.000003374011,0.000006124558,0.0006922559],"genre_scores_gemma":[0.9982028,0.0001602171,0.0009019316,0.0003875005,0.0001882908,0.000003564703,0.00001208491,0.00001469743,0.0001288843],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3305538,"threshold_uncertainty_score":0.380754,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006292761,0.00009036451,0.000259416,0.00014067,0.0001040171,0.0000318807,0.00006315607,0.00005369547,0.00001903074],"category_scores_gemma":[0.00006292141,0.00007475589,0.00002749427,0.00009361448,0.0001459482,0.0001822579,0.00002523504,0.0001714854,9.079459e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001697612,"about_ca_system_score_gemma":0.00002262287,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007439704,"about_ca_topic_score_gemma":0.00006183193,"domain_scores_codex":[0.9992021,0.000009718806,0.0005206124,0.0001059637,0.00004393231,0.0001177095],"domain_scores_gemma":[0.9992985,0.0001382769,0.0003939999,0.00007527005,0.00005970571,0.0000342184],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002857669,0.00007278292,0.9394978,0.0003969305,0.0001531493,0.00001180591,0.01105334,0.001401439,0.0001403731,0.01300448,0.005217298,0.0287648],"study_design_scores_gemma":[0.001555449,0.0001821293,0.8783189,0.0003306819,0.00002321856,0.00004706219,0.0028089,0.03303134,0.000103307,0.00179209,0.08164824,0.000158644],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9559445,0.04077423,0.0003269208,0.0005524373,0.0002848922,0.00008176183,0.0000164589,0.000002125191,0.002016663],"genre_scores_gemma":[0.9355093,0.06232399,0.0007903388,0.0001177328,0.00002782876,0.000005102465,3.714694e-7,0.00000626504,0.001219119],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.07643094,"threshold_uncertainty_score":0.3048457,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005132889,0.00008385868,0.0001325247,0.00009511312,0.0003583221,0.0001469855,0.00008227267,0.00002034392,0.00006091647],"category_scores_gemma":[0.00004314077,0.00004356817,0.0000558639,0.00006127947,0.0001340602,0.0002543677,0.00001788072,0.0002672322,0.00001212633],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000259111,"about_ca_system_score_gemma":0.0000358496,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003594505,"about_ca_topic_score_gemma":0.0001973135,"domain_scores_codex":[0.9992118,0.00004357237,0.0003595511,0.00006400107,0.0002204633,0.0001005802],"domain_scores_gemma":[0.9993533,0.0002438268,0.0001642828,0.00007189252,0.0001500212,0.00001665437],"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":[0.001785526,0.0001919534,0.003559813,0.0005432552,0.0006956487,0.00003664289,0.7309079,0.02057632,0.000947551,0.06336231,0.03322466,0.1441684],"study_design_scores_gemma":[0.0008771526,0.001719564,0.02896312,0.0009977191,0.00008140033,0.0000605368,0.1393985,0.03895814,0.0007207052,0.0005304444,0.7874445,0.0002482395],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9871018,0.003393233,0.00001436214,0.0008851573,0.0008648105,0.00007263134,0.000003878519,0.000009914417,0.007654218],"genre_scores_gemma":[0.9950966,0.001433953,0.00001890254,0.00005399733,0.0004089782,0.000003724235,3.718583e-7,0.000008106578,0.00297542],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7542199,"threshold_uncertainty_score":0.2755961,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009226343,0.0001681241,0.0004015352,0.0004562353,0.0001853177,0.00005233775,0.000235167,0.00004451897,0.0004115706],"category_scores_gemma":[0.00005462473,0.0001443321,0.00006562918,0.0002115795,0.0002118225,0.0008399253,0.00003638817,0.0002533942,0.00003010646],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007902053,"about_ca_system_score_gemma":0.0001092148,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008454347,"about_ca_topic_score_gemma":0.01594578,"domain_scores_codex":[0.9982392,0.00005553698,0.0008744187,0.0001436939,0.0003887136,0.0002984807],"domain_scores_gemma":[0.998801,0.00009430981,0.0004658606,0.0001448425,0.0004392916,0.00005470773],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.003461088,0.0003011099,0.3372269,0.0005799956,0.0001092907,0.00002790518,0.6052174,0.008509076,0.001053327,0.00441385,0.01093196,0.02816806],"study_design_scores_gemma":[0.005008981,0.003968281,0.4972656,0.002405428,0.0000446544,0.00002270249,0.07129336,0.006751102,0.009041499,0.0008276554,0.4021412,0.001229522],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9846021,0.0004860038,0.0000218157,0.0002988107,0.0007650344,0.0001343267,0.0000317898,0.000007637857,0.0136525],"genre_scores_gemma":[0.9956968,0.0004532254,0.00057764,0.0001318925,0.0008484063,0.000005715491,0.000003061413,0.00001623947,0.002267061],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.533924,"threshold_uncertainty_score":0.8898119,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002008155,0.0001192574,0.0003086902,0.0006049579,0.0003725135,0.0001033718,0.0002907202,0.0001289024,0.00006933333],"category_scores_gemma":[0.0003439564,0.0001229558,0.0001066081,0.000877373,0.0001022654,0.00106679,0.00001989782,0.0004579033,0.00001057101],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004179385,"about_ca_system_score_gemma":0.0005669266,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004447217,"about_ca_topic_score_gemma":0.003012263,"domain_scores_codex":[0.9981938,0.0002032332,0.0006708699,0.0001358688,0.0004515985,0.0003446236],"domain_scores_gemma":[0.9990228,0.0002342868,0.0004234888,0.00008262358,0.0001680641,0.00006875515],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0004916555,0.0002602758,0.705368,0.0001741145,0.00007533931,0.00007433319,0.1515379,0.01640404,0.0004518325,0.01453745,0.006749024,0.103876],"study_design_scores_gemma":[0.00343392,0.0001862095,0.8066043,0.001779078,0.00006143404,0.000006112891,0.1024808,0.01463659,0.000242959,0.003133069,0.06693005,0.00050556],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9757224,0.001161221,0.000394027,0.002083877,0.001489472,0.0001954449,0.000002086918,0.00001455889,0.01893693],"genre_scores_gemma":[0.9944534,0.00156287,0.0006418657,0.0002193134,0.0002338817,0.000008761618,0.000001464277,0.000007557853,0.002870829],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1033704,"threshold_uncertainty_score":0.5013993,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000542749,0.0001300716,0.000168008,0.0001448181,0.0002789194,0.0002072904,0.0002469615,0.00002477475,0.0003748659],"category_scores_gemma":[0.00003446554,0.00006539052,0.00004874776,0.00007459876,0.0001305339,0.001450171,0.00001147945,0.0001324945,0.00002763875],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000656162,"about_ca_system_score_gemma":0.00009913887,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005752498,"about_ca_topic_score_gemma":0.002760686,"domain_scores_codex":[0.9987479,0.0000887653,0.0005350896,0.0001118782,0.0003190932,0.0001972403],"domain_scores_gemma":[0.9989808,0.0000987032,0.0002665247,0.0001646045,0.0003981942,0.00009117053],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001389025,0.0003405681,0.006983442,0.0001280853,0.000116387,0.00004737913,0.3717005,0.002670037,0.0001923236,0.04715418,0.01286396,0.5564141],"study_design_scores_gemma":[0.00158275,0.001693706,0.04096643,0.001053834,0.00002643029,0.00003091431,0.02305358,0.001354251,0.0001284632,0.0004312352,0.9294074,0.0002710106],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9902303,0.0005977166,0.0007899186,0.002105339,0.00111338,0.0001299686,0.000006150246,0.00001541234,0.005011831],"genre_scores_gemma":[0.9920508,0.0001935132,0.0004648233,0.0004595598,0.0008071925,0.000008369271,0.000001688993,0.00001791651,0.005996095],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9165434,"threshold_uncertainty_score":0.4104519,"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":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004768359,0.0001361203,0.0002237729,0.0001192256,0.0005013587,0.0001140894,0.0001496797,0.00005499307,0.00007402011],"category_scores_gemma":[0.00003060489,0.00008121294,0.0000412341,0.00005612244,0.0005234466,0.000419189,0.00004706327,0.0003196703,0.000001199503],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000595857,"about_ca_system_score_gemma":0.0000457044,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004474974,"about_ca_topic_score_gemma":0.002622033,"domain_scores_codex":[0.9989738,0.00007596203,0.0004711321,0.0001260499,0.0002037977,0.0001492178],"domain_scores_gemma":[0.9990388,0.0002872195,0.0003524346,0.0001241905,0.0001532558,0.00004406937],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.003509002,0.000379302,0.1593714,0.0004217291,0.0005557016,0.00001874599,0.3922804,0.002759083,0.001039097,0.05347971,0.003944045,0.3822418],"study_design_scores_gemma":[0.004811393,0.001154317,0.7078262,0.001138856,0.000282422,0.00004843434,0.1380355,0.01823084,0.0002092638,0.001581037,0.1262118,0.0004699772],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9895469,0.00797803,0.0002333695,0.0003526445,0.0005817072,0.0001827652,0.00001882104,0.000006292166,0.00109947],"genre_scores_gemma":[0.9945784,0.004468738,0.00006329869,0.0001255129,0.0002155442,0.000003451424,0.000004060395,0.000007028492,0.0005339383],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5484548,"threshold_uncertainty_score":0.3856097,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}