{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":5,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":5,"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":"a5a29b1ebb15","filters":{"venue":"Journal of British Cinema and Television"}},"results":[{"id":"W2950903281","doi":"10.3366/jbctv.2019.0481","title":"Wainwright's West Yorkshire: Affect and Landscape in the Television Drama of Sally Wainwright","year":2019,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Wainwright; Drama; Beauty; Theme (computing); Art; Narrative; Romance; Visual arts; History; Art history; Geography; Sociology; Media studies; Literature; Aesthetics; Archaeology","authors":[{"name":"Faye Woods","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009676944973632019,"gpt":0.2072252475999633,"spread":0.1975483026263312,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003935636,0.0003004404,0.0001812556,0.0004547774,0.007385704,0.004704359,0.0004392393,0.001016807,0.006484343],"category_scores_gemma":[0.0008894289,0.0002792509,0.00009545487,0.0004771465,0.006973154,0.001870511,0.002429173,0.002716145,0.0005114782],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005663897,"about_ca_system_score_gemma":0.00105581,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2441078,"about_ca_topic_score_gemma":0.5169231,"domain_scores_codex":[0.9996407,0.0001463595,0.000004296439,0.00004565593,0.000061909,0.0001010402],"domain_scores_gemma":[0.9997106,0.0001292359,0.00002740537,0.00001137342,0.00003251285,0.00008874631],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001025102,0.00003039499,0.003306868,0.00006734208,0.00001403435,0.001677086,0.9148319,0.00008300298,0.002745914,0.01526268,0.05222522,0.009653114],"study_design_scores_gemma":[0.00001145559,0.00003151878,0.01568668,0.0001458326,0.00001175673,0.0003838462,0.6288832,0.00009433508,0.0005089343,0.0007835722,0.3534266,0.00003221005],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7773785,0.004827492,0.0005411164,0.02012154,0.0007760824,0.00002621155,0.0001785989,0.00006920479,0.1960813],"genre_scores_gemma":[0.9500242,0.001053515,0.0001362667,0.00170596,0.00009465945,0.0000191025,0.0000422361,0.00008784693,0.04683627],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2441078,"threshold_uncertainty_score":0.4853739,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3200818299","doi":"10.3366/jbctv.2021.0596","title":"Cat Mahoney, <i>Women in Neoliberal Postfeminist Television Drama: Representing Gendered Experiences of the Second World War</i>","year":2021,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"World Wars: History, Literature, and Impact","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Drama; Gender studies; World War II; Feminism; Neoliberalism (international relations); Sociology; History; Art; Visual arts; Social science","authors":[{"name":"Bonnie White","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009475504588387258,"gpt":0.2556782828773861,"spread":0.2462027782889988,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009304947,0.0006794345,0.000308227,0.001684439,0.01510484,0.009111501,0.001437771,0.00482768,0.01228171],"category_scores_gemma":[0.003154542,0.0004300686,0.0002101843,0.001908065,0.005336382,0.006798253,0.002116591,0.004837851,0.001307198],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00362236,"about_ca_system_score_gemma":0.004963081,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.127894,"about_ca_topic_score_gemma":0.35073,"domain_scores_codex":[0.99937,0.0002952055,0.00001667944,0.00005422546,0.0001539736,0.0001099729],"domain_scores_gemma":[0.9977158,0.001437037,0.000163162,0.0000289741,0.0003357558,0.0003192239],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001278904,0.0000931537,0.003043484,0.0005712285,0.0000197277,0.0008718327,0.2625788,0.0001120626,0.0008134946,0.08124255,0.6186998,0.03182604],"study_design_scores_gemma":[0.00001851972,0.0000290224,0.008117918,0.0006328731,0.00002111044,0.0003780419,0.4689224,0.00009159654,0.0005276747,0.007148958,0.5140694,0.00004247882],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.06259638,0.07219408,0.001167579,0.5778311,0.007442168,0.0001818716,0.0009116331,0.0001408524,0.2775343],"genre_scores_gemma":[0.4660472,0.06624579,0.001449186,0.1698221,0.00277672,0.000654218,0.0003413856,0.0004623861,0.292201],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.127894,"threshold_uncertainty_score":0.2542991,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1979674869","doi":"10.3366/e1743452109001253","title":"Roderick Flynn and Patrick Brereton, <i>Historical Dictionary of Irish Cinema. Historical Dictionaries of Literature and the Arts No. 17</i> (Lanham, MA , Toronto and Plymouth: Scarecrow Press, 2007), pp. xxxiii + 393, ISBN 978 0 8108 5557 1 (hb), $85.","year":2009,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Irish and British Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Irish; History; The arts; Movie theater; Art history; Classics; Media studies; Art; Sociology; Philosophy; Visual arts; Linguistics","authors":[{"name":"Anthea Irwin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007196632766626406,"gpt":0.2317064592616229,"spread":0.2245098264949965,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001179052,0.001486979,0.0007771149,0.003773314,0.002146546,0.004595231,0.001680607,0.001381424,0.05567339],"category_scores_gemma":[0.002314675,0.0007353143,0.0003706547,0.004931551,0.00155242,0.005960577,0.001250322,0.002229446,0.03029591],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003102102,"about_ca_system_score_gemma":0.003598934,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.09586284,"about_ca_topic_score_gemma":0.1822882,"domain_scores_codex":[0.9991915,0.000169406,0.00007611275,0.0001043212,0.0003449007,0.0001137775],"domain_scores_gemma":[0.9989662,0.0003135869,0.0001057883,0.00004083243,0.0004577735,0.000115841],"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":[0.00001972101,0.000008619644,0.0001351424,0.0004912049,0.00000336005,0.00004669487,0.001026446,0.00002528516,0.00009234058,0.002914946,0.944647,0.05058925],"study_design_scores_gemma":[0.00000398863,0.00000510581,0.001022502,0.0004791792,0.000002508983,0.00008557389,0.001113324,0.00001913004,0.00008067063,0.0006315754,0.9965457,0.00001066179],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.001723484,0.6495975,0.002892653,0.03950642,0.02119214,0.0001714681,0.003290986,0.0004563753,0.281169],"genre_scores_gemma":[0.01451585,0.4323291,0.002612566,0.008775911,0.004230092,0.0001605306,0.002989912,0.0004524823,0.5339335],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.09586284,"threshold_uncertainty_score":0.1906097,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W306944799","doi":"10.3366/jbctv.2005.2.2.363","title":"Andrew Spicer, <i>Film Noir</i>","year":2005,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Brock University","funders":"","keywords":"History; Art history","authors":[{"name":"Jim Leach","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01361076805752236,"gpt":0.2105740908473598,"spread":0.1969633227898375,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009967306,0.0006430256,0.0004023527,0.002220619,0.003809525,0.004011048,0.000858476,0.003111522,0.06640194],"category_scores_gemma":[0.006173147,0.000392498,0.0002641706,0.001853076,0.0008508644,0.00294523,0.00138716,0.00287039,0.01958983],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001872674,"about_ca_system_score_gemma":0.001280588,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04566981,"about_ca_topic_score_gemma":0.1478826,"domain_scores_codex":[0.9993827,0.0001078453,0.00003234196,0.0001037368,0.0002872626,0.00008616308],"domain_scores_gemma":[0.9977263,0.0005466043,0.0001557568,0.00006864377,0.001030784,0.0004718895],"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":[0.00001114444,0.000004124372,0.000150098,0.00006791551,0.000002389885,0.00003700617,0.0001233753,0.00001695975,0.00007713867,0.0008694854,0.9869406,0.01169968],"study_design_scores_gemma":[0.00000321078,0.000006672124,0.00140745,0.0001177496,0.000005007036,0.00009816721,0.0009196448,0.00003560939,0.0001942953,0.0007807402,0.9964204,0.00001111654],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"review","genre_scores_codex":[0.003747806,0.1549756,0.001234786,0.5944752,0.07821654,0.00006438735,0.002167862,0.0004284844,0.1646893],"genre_scores_gemma":[0.02939178,0.09442668,0.001019876,0.07713165,0.02389366,0.00006621792,0.001135982,0.0004509506,0.7724832],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.06640194,"threshold_uncertainty_score":0.2221366,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4362600414","doi":"10.3366/jbctv.2023.0668","title":"‘The Billings verdict’:<i>Kine Weekly</i>and the British Box Office, 1936–62","year":2023,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Verdict; Box office; Revenue; Quarter (Canadian coin); History; Advertising; Political science; Economics; Law; Business; Archaeology; Accounting","authors":[{"name":"James Chapman","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01209775753443993,"gpt":0.2040005934955465,"spread":0.1919028359611066,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001336351,0.0002675144,0.0001981077,0.001860623,0.003393532,0.004718882,0.0004950889,0.001631964,0.02091504],"category_scores_gemma":[0.007986929,0.0004030172,0.0001360169,0.004974897,0.00155624,0.002359802,0.001062034,0.002696113,0.004144132],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007060108,"about_ca_system_score_gemma":0.003001979,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3409712,"about_ca_topic_score_gemma":0.465316,"domain_scores_codex":[0.9985514,0.000157191,0.00007704764,0.0002051086,0.000695526,0.0003136933],"domain_scores_gemma":[0.9983408,0.00049216,0.0002284693,0.0001015665,0.0005991695,0.0002376738],"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":[0.00005304611,0.00001049509,0.005057983,0.00006890684,0.000005616109,0.0001128538,0.002656988,0.00004738201,0.000134543,0.03471954,0.9264131,0.03071955],"study_design_scores_gemma":[0.000002341632,0.00001289363,0.04246405,0.00009104791,0.0000031169,0.0000463288,0.001813653,0.00003523182,0.0001886861,0.0009099969,0.9544162,0.00001652054],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1374794,0.048744,0.0012421,0.1670705,0.01460868,0.0001514495,0.02113446,0.0002409653,0.6093283],"genre_scores_gemma":[0.3757994,0.009648815,0.0006859276,0.01120912,0.002569744,0.0001032532,0.005241662,0.0002934766,0.5944486],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3409712,"threshold_uncertainty_score":0.6779732,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}