{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":21,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":21,"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":"81f381f870d9","filters":{"venue":"Journal of African Cinemas"}},"results":[{"id":"W2067467014","doi":"10.1386/jac.2.2.111_1","title":"Funding, ideology and the aesthetics of the development film in postcolonial Zimbabwe","year":2010,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African studies and sociopolitical issues","field":"Social Sciences","cited_by":13,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Ideology; Movie theater; Aesthetics; Colonialism; Narrative; Sociology; Film genre; Media studies; Gender studies; Art; History; Visual arts; Literature; Political science; Law; Archaeology; Politics","authors":[{"name":"Alexander Fisher","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01456448340465236,"gpt":0.2981358051787931,"spread":0.2835713217741407,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001627633,0.00007065914,0.0002858295,0.00004837501,0.0003157766,0.00001653889,0.0003107395,0.00006800741,0.00004784727],"category_scores_gemma":[0.0009566065,0.00003550879,0.0000797247,0.000208057,0.001853384,0.00003923969,0.0001023705,0.000356269,8.247139e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004443396,"about_ca_system_score_gemma":0.0002718467,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004420683,"about_ca_topic_score_gemma":0.004595487,"domain_scores_codex":[0.9987512,0.0002117338,0.0004111934,0.00006446978,0.0003209543,0.0002404145],"domain_scores_gemma":[0.9988299,0.0005174028,0.0003212635,0.00008845741,0.0001634421,0.00007952013],"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":[0.0001274642,0.0001207176,0.09866641,0.00001135219,0.00007061885,0.00001299867,0.2917193,0.000006631788,0.0001552591,0.6064989,0.001083937,0.001526399],"study_design_scores_gemma":[0.004088267,0.000377056,0.3145605,0.00009892768,0.000134082,0.00004797196,0.2692716,0.0000247269,0.0002453694,0.04677323,0.3640594,0.000318871],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.950694,0.0001960744,0.000008016809,0.02803543,0.000412193,0.0001063882,7.559616e-7,0.000002381212,0.02054483],"genre_scores_gemma":[0.9985238,0.00006410111,0.0005070383,0.0001686698,0.0001801968,0.000001634592,2.529057e-8,0.000004162902,0.0005503416],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5597256,"threshold_uncertainty_score":0.682887,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2045603739","doi":"10.1386/jac.1.1.95/1","title":"The rise of the African musical: postcolonial disjunction in Karmen Geï and Madame Brouette","year":2009,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Foregrounding; Musical; Movie theater; Ideology; Context (archaeology); Narrative; Sociology; Aesthetics; Expression (computer science); Politics; Action (physics); Visual arts; Media studies; Art; History; Literature; Political science; Law; Computer science","authors":[{"name":"Sheila Petty","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00912337554282462,"gpt":0.2525132709533097,"spread":0.2433898954104851,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001165045,0.000100151,0.000253167,0.00005906924,0.0007198054,0.00002894714,0.0003012806,0.00004964617,0.00001468634],"category_scores_gemma":[0.000570323,0.00005237349,0.0001207212,0.0004904807,0.0006742635,0.000132697,0.00003547347,0.0003239545,6.377934e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001425853,"about_ca_system_score_gemma":0.0001476618,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001775475,"about_ca_topic_score_gemma":0.001718603,"domain_scores_codex":[0.9984316,0.0003866255,0.0003888419,0.0001014168,0.0004629618,0.0002285057],"domain_scores_gemma":[0.9989059,0.0002264208,0.0005026744,0.0001216878,0.0001595388,0.00008379358],"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":[0.002495009,0.001169369,0.0414209,0.00003721709,0.0003872025,0.0001199946,0.6950253,0.000145094,0.00950071,0.09039923,0.09548836,0.06381159],"study_design_scores_gemma":[0.0008989827,0.0007898373,0.3475577,0.00007148879,0.0001244244,0.000022689,0.09949618,0.000007429674,0.00003743214,0.006210333,0.5445912,0.0001923081],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8879585,0.00150883,0.00001313459,0.05944839,0.0006216878,0.0002526003,0.000003557145,0.00001057218,0.05018276],"genre_scores_gemma":[0.9983084,0.0001992875,0.00004817097,0.00015152,0.0004066851,0.000001573303,3.535183e-8,0.000004238725,0.0008801577],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5955291,"threshold_uncertainty_score":0.5536234,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2466108938","doi":"10.1386/jac.8.1.117_1","title":"Documenting defiance: Women film-makers in Tahrir Square","year":2016,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"Middle East Politics and Society","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Authoritarianism; Politics; Power (physics); Patriarchy; Paternalism; Sociology; Representation (politics); Relation (database); Gender studies; Democracy; Political science; Law","authors":[{"name":"May Telmissany","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01403274046532006,"gpt":0.2817081769878129,"spread":0.2676754365224929,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001648865,0.00008794126,0.0002406175,0.000105782,0.0001544135,0.00005215524,0.0002445796,0.00006840533,0.0005719171],"category_scores_gemma":[0.0005695601,0.00006040973,0.0001249895,0.0003139807,0.0001583758,0.0002609655,0.00002945104,0.0001533985,0.00001641872],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004626532,"about_ca_system_score_gemma":0.000352955,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001343831,"about_ca_topic_score_gemma":0.0002370847,"domain_scores_codex":[0.9983316,0.0001426591,0.0004278263,0.0001036257,0.000490531,0.0005037377],"domain_scores_gemma":[0.9989053,0.0002119697,0.0003616643,0.00009978079,0.0001682307,0.0002530491],"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":[0.000174569,0.0004663848,0.2516157,0.0001011929,0.0002214686,0.0003084651,0.5017612,0.0000799531,0.002933013,0.1783204,0.03304579,0.0309719],"study_design_scores_gemma":[0.002989023,0.0003284377,0.02708262,0.0005992333,0.00002466684,0.00002074128,0.2373911,0.00001116272,0.000124239,0.02099659,0.7099952,0.0004370085],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9314765,0.0002024834,0.0001139362,0.00637929,0.0003536954,0.00008217754,0.000004257385,0.00001090514,0.0613768],"genre_scores_gemma":[0.9933223,0.0001731131,0.0003644779,0.0001814214,0.0005304902,0.000002938417,7.683693e-8,0.000009138631,0.00541606],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6769494,"threshold_uncertainty_score":0.6262091,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2326468309","doi":"10.1386/jac.4.2.145_1","title":"Aesthetic and narrative strategies in the films of selected African women directors","year":2012,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Regina","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Peasant; Narrative; Movie theater; Aesthetics; Sociology; History; Art; Literature; Gender studies; Archaeology","authors":[{"name":"Sheila Petty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01504490630172871,"gpt":0.2701186299567926,"spread":0.2550737236550639,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00127408,0.0001029201,0.0003076113,0.0001105797,0.0002909714,0.00002205904,0.0002038455,0.00004088653,0.00008419496],"category_scores_gemma":[0.000258298,0.00006183238,0.00004999506,0.0007573641,0.0005435885,0.0002955542,0.00001539097,0.0002055483,5.799027e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009825737,"about_ca_system_score_gemma":0.000200154,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001552896,"about_ca_topic_score_gemma":0.0003892127,"domain_scores_codex":[0.9985018,0.000445207,0.0003126296,0.00006784815,0.0003724544,0.0003000735],"domain_scores_gemma":[0.9990749,0.000141837,0.0003998271,0.00006880195,0.0002081465,0.0001064267],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005345793,0.0001153377,0.005718979,0.000007363003,0.00002516806,0.000005347983,0.9845556,0.000004426576,0.0003248672,0.00652409,0.002308244,0.0003571084],"study_design_scores_gemma":[0.0001984611,0.0002791207,0.02997019,0.00002113886,0.00002204609,0.00001602905,0.9419978,3.219632e-7,0.00001347661,0.000505195,0.02689216,0.00008410211],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9427176,0.001525009,0.000004477728,0.001160206,0.0001104328,0.00009645479,0.000001701886,0.000006082229,0.05437807],"genre_scores_gemma":[0.999391,0.0001065134,0.0001080213,0.00003091472,0.0001329649,0.000005786722,1.070721e-7,0.000004917416,0.0002197831],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05667342,"threshold_uncertainty_score":0.2521451,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3108017260","doi":"10.1386/jac_00030_7","title":"In memory of Frank Ukadike","year":2020,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"History and advancements in chemistry","field":"Chemistry","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Regina","funders":"","keywords":"History","authors":[{"name":"Kenneth W. Harrow","is_ca":false},{"name":"Babatunde Onikoyi","is_ca":false},{"name":"Keyan G. Tomaselli","is_ca":false},{"name":"Sheila Petty","is_ca":true},{"name":"Vaughn Borden","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01643585771351117,"gpt":0.2452850236923505,"spread":0.2288491659788393,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001115813,0.00009593796,0.0003085777,0.00003946448,0.00001593329,0.000003042571,0.0002481147,0.0000540899,0.002738787],"category_scores_gemma":[0.0001958454,0.00008799962,0.0001049045,0.0001294519,0.00006068918,0.0001076117,0.00002693907,0.0003248286,0.00000493852],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005683161,"about_ca_system_score_gemma":0.00008599541,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002072102,"about_ca_topic_score_gemma":4.492003e-7,"domain_scores_codex":[0.9989829,0.00000939859,0.0005387746,0.00009624204,0.000249349,0.0001233575],"domain_scores_gemma":[0.9991652,0.00006124512,0.000452132,0.0001212634,0.00007250626,0.000127673],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.0002036568,0.000144868,0.0009725973,0.0003488819,0.00004798322,0.0002641661,0.001668384,0.0003188714,0.9838825,0.00003934308,0.01109526,0.001013457],"study_design_scores_gemma":[0.001970495,0.0001173945,0.00007706297,0.000211154,0.00004357313,0.00006654317,0.002342215,0.00004328774,0.7895848,0.0001677245,0.2051844,0.000191393],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8768672,0.001088332,0.0001119062,0.001658055,0.0001691693,0.0000220639,0.00001233069,0.000008799824,0.1200622],"genre_scores_gemma":[0.9970892,0.0000415532,0.0009529499,0.0002450316,0.000432037,5.562746e-7,5.854022e-7,0.00001162096,0.001226488],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1942977,"threshold_uncertainty_score":0.9981728,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2313191613","doi":"10.1386/jac.2.2.151_1","title":"Revis(it)ing personal, theoretical and national histories: A critical review-essay of Encountering Modernity: Twentieth Century South African Cinemas with an interview with Keyan G. Tomaselli","year":2010,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University; University of Ottawa","funders":"","keywords":"Movie theater; Modernity; Subjectivity; Historicity (philosophy); Narrative; Biography; Sociology; Articulation (sociology); History; Aesthetics; Literature; Anthropology; Art history; Gender studies; Epistemology; Art; Philosophy; Law","authors":[{"name":"Boulou Ebanda de B'bri","is_ca":true},{"name":"Michael Audette-Longo","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02636561972290295,"gpt":0.296259597939789,"spread":0.269893978216886,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002547355,0.0002931177,0.0008382984,0.0001602142,0.0005538305,0.00006293589,0.0003685929,0.00009353589,0.0004355373],"category_scores_gemma":[0.001016632,0.0001959388,0.0001579813,0.0004580662,0.002552406,0.000495856,0.00005976831,0.0007108829,9.005447e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002109262,"about_ca_system_score_gemma":0.0006951745,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002780936,"about_ca_topic_score_gemma":0.0003035279,"domain_scores_codex":[0.996806,0.0004353869,0.000700591,0.0003294359,0.001339037,0.0003895351],"domain_scores_gemma":[0.9969189,0.0003198838,0.0007048391,0.00018619,0.001467272,0.0004029047],"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":[0.001609298,0.001127569,0.003773221,0.003532198,0.0007929023,0.0003059496,0.7006401,0.00001111052,0.001291454,0.2749446,0.00858167,0.00338984],"study_design_scores_gemma":[0.00196323,0.004746434,0.0008322294,0.00805072,0.00157934,0.0006630073,0.3830083,0.0001132521,0.00003298522,0.002959515,0.5947145,0.001336444],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3927144,0.07731395,0.01250484,0.09763724,0.003710337,0.002964495,0.0002656246,0.0003097662,0.4125794],"genre_scores_gemma":[0.9946712,0.001443721,0.002575951,0.000476892,0.0005439621,0.000009938612,0.000001478729,0.00002685944,0.0002500185],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6019568,"threshold_uncertainty_score":0.9404446,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4214576896","doi":"10.1386/jac_00044_1","title":"Living in a permanent wake: The cinematic and affective prisms of mourning in Zulu Love Letter","year":2021,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"South African History and Culture","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Zulu; Grief; Focus (optics); Psychoanalysis; Aesthetics; History; Psychology; Art; Literature; Philosophy; Linguistics; Psychotherapist","authors":[{"name":"Sakiru Adebayo","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01218934841261636,"gpt":0.255116920321964,"spread":0.2429275719093476,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001409664,0.00008712245,0.0003146064,0.0001263633,0.0000774775,0.00002498994,0.0001481624,0.00005468662,0.0001467277],"category_scores_gemma":[0.0008191515,0.00005953589,0.00008339184,0.0005154631,0.0001625328,0.0001376427,0.00003522396,0.0003806066,0.000002141929],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001325492,"about_ca_system_score_gemma":0.0001918088,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000634824,"about_ca_topic_score_gemma":0.0009080541,"domain_scores_codex":[0.9984263,0.0005283697,0.0004047777,0.0001028141,0.0003507549,0.0001869382],"domain_scores_gemma":[0.9987918,0.0005107092,0.0004041853,0.00008845757,0.0001340634,0.00007075631],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003944745,0.0001751328,0.06716816,0.00007160829,0.00004601982,0.000303583,0.9250195,0.0002302598,0.003736083,0.001167929,0.001536441,0.000505831],"study_design_scores_gemma":[0.00100003,0.0002132646,0.1801068,0.001164244,0.00008985656,0.0001226209,0.8072377,0.00006846423,0.0002110262,0.0008721398,0.008665615,0.0002482578],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9823769,0.001085167,0.00002321587,0.003927009,0.0001294234,0.0001038994,7.304739e-7,0.00000228197,0.01235142],"genre_scores_gemma":[0.9987136,0.0000390049,0.0001543204,0.0002195046,0.0001924364,0.000001344973,7.291084e-8,0.000005889659,0.0006738499],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1177818,"threshold_uncertainty_score":0.2427803,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008825","doi":"10.1386/jac_00130_1","title":"Ecological fragility and contemporary African documentaries","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Fragility; Ecology; Sociology; History; Biology; Chemistry","authors":[{"name":"Suzanne Crosta","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02144972328118707,"gpt":0.2952332270504203,"spread":0.2737835037692333,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009690654,0.0001138336,0.0003776613,0.0001081665,0.0006643354,0.00004867511,0.0002124996,0.00007087301,0.000173011],"category_scores_gemma":[0.0006593826,0.00008299856,0.0001086597,0.0003486039,0.0009725225,0.0002228817,0.00006560075,0.0002470172,0.000001976172],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001743394,"about_ca_system_score_gemma":0.0004109495,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002300303,"about_ca_topic_score_gemma":0.0005342641,"domain_scores_codex":[0.9987165,0.0002649275,0.0003923933,0.0001385957,0.0002878378,0.0001997732],"domain_scores_gemma":[0.9989414,0.0003050593,0.0002977407,0.00008759199,0.0002301011,0.0001381721],"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":[0.0008141649,0.0007318244,0.1048298,0.00007818973,0.0007024272,0.0002490038,0.149885,0.00000543691,0.0003499211,0.3276077,0.4091989,0.005547751],"study_design_scores_gemma":[0.0004142793,0.0002221115,0.03012009,0.00002900083,0.00005782109,0.000004624947,0.1091447,3.746412e-7,0.00001493083,0.0109378,0.8489442,0.0001100043],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1939811,0.004656459,0.0001133001,0.02360551,0.0006792059,0.0001917614,0.00000577941,0.00003458985,0.7767323],"genre_scores_gemma":[0.9952046,0.0001535161,0.0003235358,0.0004302644,0.0002068574,0.000003194787,2.244419e-7,0.00000296307,0.003674876],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8012235,"threshold_uncertainty_score":0.5109598,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4310376924","doi":"10.1386/jac_00059_1","title":"FESPACO@50 and beyond: Dialectics of an emancipatory project","year":2022,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Sine qua non; Film industry; Sovereignty; Drama; History; Politics; Dialectic; Aesthetics; Sociology; Media studies; Centrality; Literature; Political science; Law; Art history; Epistemology; Art; Philosophy","authors":[{"name":"Aboubakar Sanogo","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02656354805132105,"gpt":0.303886526013555,"spread":0.277322977962234,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001149134,0.00008424215,0.0002919067,0.0001522372,0.0007546601,0.00001139091,0.0002066794,0.00002655176,0.0001102985],"category_scores_gemma":[0.0002329829,0.000071764,0.00008426144,0.0003761645,0.0003368627,0.0001669684,0.00006223304,0.000253344,2.78337e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001500762,"about_ca_system_score_gemma":0.000445716,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001291079,"about_ca_topic_score_gemma":0.0003648558,"domain_scores_codex":[0.9984787,0.000381693,0.0003071188,0.0001004812,0.000558952,0.0001730489],"domain_scores_gemma":[0.9990067,0.00009837635,0.0005220963,0.00008676315,0.0001805637,0.000105435],"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":[0.0005727838,0.0008106328,0.008370963,0.00006979391,0.0003091852,0.0001791837,0.8973242,0.00008423963,0.003209933,0.02894227,0.05504636,0.005080475],"study_design_scores_gemma":[0.0004689435,0.001604381,0.002627809,0.000009896055,0.0001204856,0.00004779761,0.4274715,0.000003161457,0.00004132179,0.001235515,0.566205,0.0001641372],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8770527,0.002783665,0.00002987924,0.001680142,0.000794025,0.0002265825,0.00001998005,0.00002126854,0.1173918],"genre_scores_gemma":[0.9979434,0.00008560267,0.000503502,0.0001066246,0.0003555725,0.000005300049,2.790532e-7,0.000007959115,0.0009917844],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5111586,"threshold_uncertainty_score":0.5804312,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008939","doi":"10.1386/jac_00135_1","title":"Alter(ing)native narratives: Agency, human rights and an ‘aesthetics of commitment’ in African films","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"University of Regina","funders":"","keywords":"Agency (philosophy); Narrative; Human rights; Aesthetics; Sociology; Art; Political science; Social science; Literature; Law","authors":[{"name":"Babatunde Onikoyi","is_ca":true},{"name":"Sheila Petty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.022297380921873,"gpt":0.3255609875691075,"spread":0.3032636066472345,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007944223,0.0001453394,0.0004746029,0.0002851838,0.000590655,0.00002133318,0.0002856631,0.00006251661,0.00006976708],"category_scores_gemma":[0.0000880317,0.0001125123,0.00009040315,0.0005823237,0.0008456588,0.0002274812,0.0000426247,0.0002470097,3.777105e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001410608,"about_ca_system_score_gemma":0.000146696,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004207756,"about_ca_topic_score_gemma":0.00495506,"domain_scores_codex":[0.9983163,0.0004251995,0.0005436807,0.0001541101,0.0003433841,0.0002173671],"domain_scores_gemma":[0.9988096,0.0001063995,0.0005502299,0.0001206488,0.0002955313,0.0001175304],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001273056,0.0006095613,0.006075378,0.0000384712,0.0001799328,0.00006804656,0.8329447,0.00002019845,0.001325091,0.1488271,0.009170336,0.000613832],"study_design_scores_gemma":[0.001822975,0.002107842,0.01607751,0.0004409077,0.0001505179,0.000006885622,0.7360733,0.000007232556,0.0005392639,0.07594161,0.1663989,0.0004330861],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7868434,0.0008303855,0.00005667111,0.001527915,0.0001994456,0.0002000776,0.000007491265,0.00001088535,0.2103237],"genre_scores_gemma":[0.9976135,0.00003681194,0.0006526568,0.00004648872,0.00008851354,0.00000379367,5.156843e-7,0.000005120291,0.001552542],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2107701,"threshold_uncertainty_score":0.4588118,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4382794484","doi":"10.1386/jac_00064_4","title":"2022 African Movie Festival, Gas Station Arts Centre in Winnipeg, Manitoba, 23–25 September 2022","year":2022,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"Sport and Mega-Event Impacts","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Regina","funders":"","keywords":"The arts; Media studies; History; Art history; Visual arts; Sociology; Art","authors":[{"name":"Giovana Nabarrete de Souza Cruz","is_ca":true},{"name":"Babatunde Onikoyi","is_ca":true},{"name":"Sheila Petty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02808974764253168,"gpt":0.2901393785951905,"spread":0.2620496309526588,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002165408,0.0001946883,0.0004277669,0.0005222221,0.0005265568,0.00007159729,0.0004279336,0.00005728872,0.0048777],"category_scores_gemma":[0.0003364148,0.000189127,0.0001990816,0.001387663,0.0001105004,0.0004437514,0.0001016936,0.0006509711,0.00002854382],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000908678,"about_ca_system_score_gemma":0.0008632438,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00129835,"about_ca_topic_score_gemma":0.008111225,"domain_scores_codex":[0.9965177,0.0004130128,0.0007046186,0.000225042,0.001531337,0.0006082707],"domain_scores_gemma":[0.9981539,0.0001919101,0.0008605465,0.0001878053,0.0002121575,0.0003937227],"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":[0.0008272841,0.001886285,0.0815611,0.00005190228,0.0002409236,0.002836651,0.07679991,0.002428698,0.003194708,0.01048423,0.7985772,0.02111105],"study_design_scores_gemma":[0.001014693,0.0003185437,0.01922198,0.00004427293,0.00006045491,0.00006238143,0.07791538,0.00002694167,0.00005787147,0.001166785,0.8998557,0.0002549649],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9233164,0.000678851,0.00001743221,0.009296359,0.001332937,0.0003331527,0.00002943971,0.00002783602,0.0649676],"genre_scores_gemma":[0.9879259,0.0001244501,0.0001862571,0.0002934675,0.0006441626,0.000008807302,0.00001403916,0.00002714571,0.01077572],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1012785,"threshold_uncertainty_score":0.996032,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4234802987","doi":"10.1386/jac.8.3.313_5","title":"Film Review","year":2016,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"University of Regina","funders":"","keywords":"History","authors":[{"name":"Sheila Petty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02348819363032684,"gpt":0.2953906338229925,"spread":0.2719024401926656,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008287149,0.00006720366,0.0002554748,0.00004231092,0.0002252423,0.000006179956,0.0002169034,0.00002615382,0.001050355],"category_scores_gemma":[0.0009443635,0.00003497491,0.0001438802,0.0002198246,0.0002395603,0.0001619933,0.00001596782,0.00007580487,0.00004641477],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001090285,"about_ca_system_score_gemma":0.0001645524,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001074614,"about_ca_topic_score_gemma":0.00005820451,"domain_scores_codex":[0.9989716,0.0001425836,0.0002886366,0.00006661171,0.000367131,0.0001634019],"domain_scores_gemma":[0.9990048,0.0001269232,0.000362637,0.00008292116,0.0002963021,0.0001264612],"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":[0.00002721164,0.00005715912,0.0006349991,0.00006092637,0.00007699658,0.00005417185,0.01214031,1.741586e-7,0.0004977282,0.02378566,0.9475427,0.01512197],"study_design_scores_gemma":[0.0001391888,0.00008505826,0.0003389074,0.0005841972,0.0000459265,0.00001020077,0.004291326,8.160288e-9,0.00001104107,0.0006324481,0.9937964,0.00006529723],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.002221803,0.04834618,0.0003743367,0.07577611,0.0009016798,0.0001626932,0.000005118924,0.00003222503,0.8721799],"genre_scores_gemma":[0.9406185,0.02962113,0.00042807,0.001269277,0.001401351,0.000003030345,6.255873e-8,0.000009639895,0.02664896],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9383967,"threshold_uncertainty_score":0.9998628,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389333659","doi":"10.1386/jac_00082_1","title":"Walking through the discourse: In praise of Hyginus Ekwuazi and his contribution to African cinema","year":2022,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"University of Regina","funders":"","keywords":"Praise; Scholarship; Movie theater; Tribute; Reputation; Context (archaeology); Media studies; The arts; Sociology; Nobel laureate; Mythology; Art history; Art; Visual arts; History; Literature; Social science; Political science; Law; Poetry","authors":[{"name":"Babatunde Onikoyi","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01559300886314012,"gpt":0.2979283755145664,"spread":0.2823353666514262,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001549975,0.0001167505,0.0003902914,0.0001285654,0.0007964407,0.00001815821,0.0003246148,0.00002743536,0.0001416831],"category_scores_gemma":[0.0007272076,0.00008064014,0.0001027264,0.0008867299,0.0004020941,0.0001781091,0.0001273934,0.0003233861,6.600785e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003238722,"about_ca_system_score_gemma":0.0002111238,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004263921,"about_ca_topic_score_gemma":0.001022905,"domain_scores_codex":[0.9979969,0.0004592475,0.0004783181,0.0001391808,0.0006508021,0.0002755551],"domain_scores_gemma":[0.9987054,0.0002718234,0.0005849549,0.0001205539,0.0002210664,0.00009613133],"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":[0.0006800514,0.0004344969,0.007764655,0.0000273696,0.0001843575,0.0001644848,0.8341664,0.0006044614,0.001865082,0.1092813,0.04047125,0.004356133],"study_design_scores_gemma":[0.000700057,0.0006450588,0.008980662,0.00004656098,0.00008708247,0.00003794094,0.4577645,0.000003411179,0.00003325172,0.002057958,0.5294771,0.0001664974],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8518141,0.005509319,0.0003187231,0.06471155,0.0009300727,0.0007268353,0.00004485867,0.00002243321,0.07592209],"genre_scores_gemma":[0.9986823,0.00007164566,0.0001550088,0.0001915065,0.0002645318,0.00001553904,4.108347e-7,0.000007513675,0.0006115192],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4890058,"threshold_uncertainty_score":0.6125658,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2474243770","doi":"10.1386/jac.8.1.75_1","title":"Religion and individual civil rights: Moroccan Jewish citizens in Where Are You Going Moshe?","year":2016,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"Jewish and Middle Eastern Studies","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":"University of Toronto","funders":"","keywords":"Citizenship; Judaism; Emigration; Jewish identity; Subject (documents); Identity (music); Civil rights; Sociology; Religious studies; Political science; Point (geometry); Law; Media studies; History; Art; Aesthetics; Philosophy; Politics","authors":[{"name":"Charles Elkabas","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02111530242058601,"gpt":0.2587706950999358,"spread":0.2376553926793498,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008341677,0.0001356396,0.0003596342,0.0002136526,0.0002164844,0.0000680715,0.0002212583,0.00008014265,0.00002077679],"category_scores_gemma":[0.0003075968,0.00008766865,0.00008161939,0.0002905961,0.0002450593,0.0003225311,0.00007207548,0.0001755157,0.000007606513],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001162502,"about_ca_system_score_gemma":0.0001114445,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003148924,"about_ca_topic_score_gemma":0.02206759,"domain_scores_codex":[0.9983742,0.0001492134,0.0004384453,0.0001633433,0.0005085843,0.0003662623],"domain_scores_gemma":[0.9988338,0.0002090586,0.0004669223,0.0000947216,0.0001883283,0.0002071603],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001106708,0.0001337142,0.8966905,0.00004086785,0.0001669402,0.0003619398,0.01792511,0.000002232374,0.000534264,0.01074379,0.03255879,0.04073116],"study_design_scores_gemma":[0.008348085,0.001153987,0.3148046,0.004502222,0.0003103408,0.0002639773,0.08654562,0.000004704306,0.0002375402,0.07890566,0.5037071,0.001216214],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9362005,0.01228386,0.00005922373,0.01178173,0.0004167125,0.0001306121,0.00001710216,0.00002323545,0.03908704],"genre_scores_gemma":[0.9955052,0.001855443,0.0001418199,0.0001070789,0.0006101568,0.000001892015,1.427512e-7,0.00001013937,0.001768109],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5818859,"threshold_uncertainty_score":0.9957771,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008945","doi":"10.1386/jac_00138_1","title":"The treasonous state and postcolonial precarity: Femi Odugbemi’s Makoko as ‘victim documentary’","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"University of Waterloo","funders":"","keywords":"Precarity; State (computer science); Art; History; Sociology; Gender studies; Computer science","authors":[{"name":"Paul Ushang Ugor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006456248011888872,"gpt":0.2805618696377193,"spread":0.2741056216258305,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0009891128,0.0001307071,0.0002841761,0.00007591749,0.001641881,0.000115649,0.0002907273,0.00004994017,0.00006889459],"category_scores_gemma":[0.0004503217,0.00008385594,0.0001142753,0.0003373161,0.0006092291,0.0001868992,0.00006810877,0.0002735669,0.000005753742],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002502773,"about_ca_system_score_gemma":0.0004355832,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007057159,"about_ca_topic_score_gemma":0.002783858,"domain_scores_codex":[0.998575,0.0002690524,0.0003509133,0.0001367379,0.0003765296,0.0002917801],"domain_scores_gemma":[0.9987924,0.0003857527,0.0003305428,0.0001147322,0.0002407975,0.0001357657],"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":[0.002120954,0.0004237525,0.02647964,0.00005670952,0.001643339,0.0003192108,0.4402145,0.0000302095,0.0006164346,0.08273537,0.380666,0.06469394],"study_design_scores_gemma":[0.0005696754,0.0003481556,0.00548041,0.00004743574,0.0001544761,0.00002529367,0.07248651,9.467104e-7,0.00003266614,0.008840447,0.9118868,0.000127252],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4637412,0.009186272,0.00004461184,0.06767587,0.001765414,0.0004073315,0.000009719877,0.00003433138,0.4571353],"genre_scores_gemma":[0.9774401,0.001398406,0.0001627122,0.0004124217,0.0003577261,0.000005356973,1.709653e-7,0.0000062163,0.02021684],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5312208,"threshold_uncertainty_score":0.9996579,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4411958770","doi":"10.1386/jac_00126_7","title":"A day of beginning and farewell!1Jean-Marie Teno’s tribute to Souleymane Cissé","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Canadian Heritage","funders":"","keywords":"Tribute; History; Art; Theology; Philosophy; Art history","authors":[{"name":"Jean-Marie Téno","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0120596362520489,"gpt":0.2864262959176249,"spread":0.274366659665576,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001114663,0.0001182467,0.0004470692,0.0002243831,0.0004306675,0.0000257321,0.0002487931,0.00005892976,0.00004339198],"category_scores_gemma":[0.001590157,0.00009346966,0.0001137342,0.0006808307,0.0003387649,0.0001237313,0.00007177803,0.0001952395,0.000001982307],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001135324,"about_ca_system_score_gemma":0.0002491733,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001204039,"about_ca_topic_score_gemma":0.0003275205,"domain_scores_codex":[0.9986777,0.0001501615,0.0004387034,0.0001340043,0.0003635785,0.0002358277],"domain_scores_gemma":[0.9986063,0.0003595442,0.0003743492,0.0001065668,0.0003940398,0.0001592282],"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":[0.0006301063,0.0004160225,0.01825096,0.0001793133,0.0009599573,0.0001899356,0.3489579,0.0002242184,0.006720993,0.05706286,0.531707,0.03470067],"study_design_scores_gemma":[0.0004268397,0.0002877272,0.003365817,0.0001569576,0.0001368459,0.000003425397,0.06628011,0.000002438519,0.0001197828,0.001345365,0.9277384,0.0001363459],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2385882,0.01924453,0.01112684,0.1335217,0.003674726,0.001016883,0.00005812848,0.0001380643,0.5926309],"genre_scores_gemma":[0.9908438,0.0001799703,0.0007236504,0.0002690869,0.0003263151,0.000002309044,2.494281e-7,0.000005892278,0.007648767],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7522556,"threshold_uncertainty_score":0.3811582,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008943","doi":"10.1386/jac_00129_1","title":"Pidgin Englishes, marginality and fragility in Nollywood cinema: Exploring language, culture and storytelling","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"Multilingual Education and Policy","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":"University of Victoria","funders":"","keywords":"Pidgin; Storytelling; Movie theater; Fragility; Linguistics; Sociology; Art; History; Literature; Narrative; Creole language; Philosophy","authors":[{"name":"Ben Akoh","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05041462443074244,"gpt":0.4008907428351834,"spread":0.350476118404441,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001397268,0.00007979358,0.0002329073,0.0002691841,0.00008985135,0.00004423203,0.0001027643,0.00005742804,0.00003540412],"category_scores_gemma":[0.001099087,0.00007017772,0.00003094703,0.0004512419,0.00009932633,0.0002083665,0.00002197405,0.0003218687,2.90074e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001077785,"about_ca_system_score_gemma":0.0002556152,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002368331,"about_ca_topic_score_gemma":0.003437504,"domain_scores_codex":[0.9990165,0.0001951201,0.0003318694,0.0001175734,0.0001644514,0.0001744595],"domain_scores_gemma":[0.9993908,0.0001856035,0.0001378805,0.00007598191,0.0001005789,0.0001091162],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0001249876,0.0002710769,0.2873856,0.0001698875,0.00002889138,0.00005411873,0.6650083,0.00004931074,0.0004310272,0.01083188,0.0009735378,0.03467136],"study_design_scores_gemma":[0.001616888,0.00007261053,0.4559471,0.0004100981,0.00003002694,0.000007694862,0.383618,0.00005862047,0.000190072,0.001136278,0.1566931,0.0002195239],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9730421,0.002495656,0.00001512005,0.002737788,0.0002562492,0.00008447014,0.00000124228,0.000006688526,0.02136066],"genre_scores_gemma":[0.9973499,0.0007570233,0.0004972016,0.0001460355,0.0002627591,0.000002305623,2.19444e-7,0.000003213935,0.0009813049],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2813903,"threshold_uncertainty_score":0.3580224,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008785","doi":"10.1386/jac_00142_2","title":"‘Marginality and Fragility in African Cinemas’","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"University of Waterloo; McMaster University; University of Victoria","funders":"","keywords":"Movie theater; Fragility; History; Sociology; Art; Art history; Physics","authors":[{"name":"Sada Niang","is_ca":true},{"name":"Suzanne Crosta","is_ca":true},{"name":"Alexie Tcheuyap","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01533535899536759,"gpt":0.2988340178551588,"spread":0.2834986588597913,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001870007,0.0001447997,0.0004919202,0.0002409826,0.0003988479,0.00003315147,0.0002671966,0.00008174205,0.0001114305],"category_scores_gemma":[0.000981912,0.0001179288,0.0001172589,0.0009197374,0.0006213944,0.00019935,0.00006190153,0.0003706041,0.000001861658],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002741932,"about_ca_system_score_gemma":0.0003595972,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005534645,"about_ca_topic_score_gemma":0.002653206,"domain_scores_codex":[0.9982143,0.0003637822,0.0005392529,0.0001915125,0.0003871474,0.0003039767],"domain_scores_gemma":[0.9988129,0.0002629717,0.0003413715,0.0001443953,0.0002859825,0.0001524072],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001084771,0.001141617,0.3355756,0.000275636,0.0004918943,0.0003819153,0.272983,0.00004303138,0.001028356,0.2900309,0.07934713,0.01761611],"study_design_scores_gemma":[0.0009572553,0.0001977273,0.2405486,0.0001395266,0.0001020714,0.000008943442,0.1355144,0.00000348204,0.00002256711,0.01324816,0.6090149,0.0002422947],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4229126,0.003876504,0.0001960382,0.02274033,0.0006167422,0.000235193,0.000006369271,0.00002937342,0.5493868],"genre_scores_gemma":[0.9962254,0.0002293804,0.0003406284,0.0002170529,0.0002246288,0.000003615711,1.738633e-7,0.000004709665,0.002754398],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5733128,"threshold_uncertainty_score":0.4808997,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2610843856","doi":"10.1386/jac.9.1.99_7","title":"Interview – Samantha Iwowo, Scriptwriter of Oloibiri (2016)","year":2017,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture studies","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":"Carleton University","funders":"","keywords":"Sociology; Art","authors":[{"name":"Nduka Otiono","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05580395397249693,"gpt":0.3256350800551459,"spread":0.2698311260826489,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00141839,0.0001162794,0.0004598557,0.00009342776,0.0007865623,0.00005385944,0.0007426578,0.00006157794,0.0004291411],"category_scores_gemma":[0.0008448857,0.00008342377,0.0002641208,0.00009575436,0.0008690745,0.0003876677,0.00008449302,0.0002007159,0.00001550061],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008547906,"about_ca_system_score_gemma":0.000187521,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001566242,"about_ca_topic_score_gemma":0.0004130939,"domain_scores_codex":[0.9985324,0.0001986327,0.0004752268,0.0001098799,0.0004593748,0.0002245208],"domain_scores_gemma":[0.9977165,0.00007102928,0.001285303,0.0002792251,0.0005057035,0.0001422619],"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":[0.0003996862,0.0007795492,0.0233313,0.0002910769,0.001170539,0.0003111856,0.2272603,0.000004954638,0.004312559,0.05783367,0.6291223,0.05518292],"study_design_scores_gemma":[0.0004441203,0.0003081706,0.01420054,0.0002645445,0.0001436204,0.00001361998,0.03559579,4.230087e-7,0.00009019486,0.001049782,0.9477367,0.000152459],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08667248,0.00848957,0.0002992602,0.02132263,0.002686028,0.0002270952,0.00001478729,0.00002634327,0.8802618],"genre_scores_gemma":[0.9905607,0.0006580147,0.0004291037,0.000146707,0.0007258638,0.000001143974,1.0255e-7,0.000008338573,0.007470034],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9038882,"threshold_uncertainty_score":0.6049681,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413008930","doi":"10.1386/jac_00134_1","title":"Mourning and loss in four documentary films","year":2025,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Documentary film; History; Art; Sociology; Art history","authors":[{"name":"Sada Niang","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01120784218539941,"gpt":0.282883633792574,"spread":0.2716757916071746,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001049595,0.00006781228,0.0001872881,0.0001382802,0.0001668505,0.00005461932,0.0001664304,0.00005542639,0.0001293855],"category_scores_gemma":[0.0001570163,0.0000588647,0.00007646462,0.0003987309,0.0001389738,0.0002415733,0.00003495264,0.0002226818,0.000002314778],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007405731,"about_ca_system_score_gemma":0.0002186537,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004646259,"about_ca_topic_score_gemma":0.0003490922,"domain_scores_codex":[0.9990755,0.0001221442,0.0002805684,0.00007887822,0.0002447187,0.0001981617],"domain_scores_gemma":[0.9994425,0.000163957,0.0001608453,0.00006006224,0.0000797621,0.00009287924],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002538641,0.000193352,0.6244104,0.000108948,0.0002346623,0.0006914851,0.1440882,0.0001114891,0.0008417572,0.02277096,0.1919093,0.01438555],"study_design_scores_gemma":[0.004442128,0.0005435615,0.2630601,0.0008869417,0.0001853082,0.0001097554,0.2553384,0.00008552059,0.0002641874,0.01579336,0.4586898,0.0006008999],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9319944,0.000938971,0.0000657967,0.01516909,0.0004903251,0.00008699047,0.000002885443,0.00000826574,0.05124322],"genre_scores_gemma":[0.9947891,0.0002838363,0.0009565707,0.0004766498,0.0001631907,6.380914e-7,2.178584e-7,0.000003782002,0.003325976],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3613502,"threshold_uncertainty_score":0.2400433,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2536323704","doi":"10.1386/jac.8.2.199_1","title":"Orality, documentary, intertextual performance and discursive practices: A reading of Ye Wonz Maibel (Deluge) 1997 by Salem Mekuria","year":2016,"lang":"en","type":"article","venue":"Journal of African Cinemas","topic":"African history and culture analysis","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":"York University","funders":"","keywords":"Objectivity (philosophy); Rhetoric; Sociology; Citizen journalism; Orality; Literature; History; Aesthetics; Gender studies; Literacy; Art; Epistemology; Linguistics; Law; Philosophy; Political science","authors":[{"name":"Bunmi Oyinsan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01675281493027806,"gpt":0.2943287966019957,"spread":0.2775759816717177,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001250154,0.0001426041,0.0004335032,0.0001352021,0.0002456424,0.00003688451,0.0003358963,0.00006626076,0.0004438668],"category_scores_gemma":[0.0004432282,0.00008431983,0.0001549135,0.0003557938,0.0004734891,0.0009899157,0.00005343886,0.0001716808,0.000006222533],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002079499,"about_ca_system_score_gemma":0.0001686056,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004388225,"about_ca_topic_score_gemma":0.0005031107,"domain_scores_codex":[0.9981635,0.0002842869,0.000557853,0.0001723266,0.0005694994,0.0002525214],"domain_scores_gemma":[0.9972237,0.0002884091,0.001862207,0.0001418384,0.0002601568,0.000223728],"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":[0.001720163,0.0009437668,0.11054,0.0001879498,0.002066895,0.0001389203,0.3097081,0.000004885716,0.03807047,0.01333167,0.4905063,0.03278079],"study_design_scores_gemma":[0.001809257,0.001408822,0.00252608,0.0006349813,0.001061475,0.00008374103,0.1552121,0.000008220728,0.001307323,0.001162548,0.834274,0.0005114631],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9696709,0.0007882436,0.0003001322,0.009736991,0.0002450496,0.0001246556,0.00003300133,0.00001277907,0.01908826],"genre_scores_gemma":[0.9933902,0.0007329382,0.0003171992,0.00009774007,0.0002600111,0.000001713592,0.000001164102,0.000009052325,0.005189979],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3437677,"threshold_uncertainty_score":0.486003,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}