{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":15,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":15,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"1a1742912399","filters":{"venue":"Journal of Film and Video"}},"results":[{"id":"W283766849","doi":"","title":"\"No Hay Banda, and Yet We Hear a Band\": David Lynch's Reversal of Coherence in Mulholland Drive","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Realm; Aesthetics; Doctrine; Character (mathematics); Perception; Art; Literature; History; Psychology; Philosophy; Epistemology","authors":[{"name":"Jennifer A. Hudson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01559331159316952,"gpt":0.2116614189441185,"spread":0.196068107350949,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000202597,0.00009668252,0.0002622287,0.00007217702,0.0001093169,0.00004630814,0.00006611747,0.0000514726,0.001138255],"category_scores_gemma":[0.00004078853,0.00006898027,0.0000510486,0.00002539406,0.0001933896,0.00022755,0.00001274694,0.0001914117,0.000003671445],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001902996,"about_ca_system_score_gemma":0.00006232165,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002114617,"about_ca_topic_score_gemma":0.001525928,"domain_scores_codex":[0.9993321,0.00003213566,0.000297965,0.00009165025,0.0001377218,0.0001084084],"domain_scores_gemma":[0.999522,0.00003806754,0.0001884289,0.0000629737,0.0001073207,0.00008126448],"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":[0.001545864,0.0006719407,0.009351874,0.0008616316,0.0002808494,0.0005946563,0.4954832,0.0001293363,0.01077115,0.02788267,0.4462056,0.006221286],"study_design_scores_gemma":[0.003612561,0.0008501985,0.003314996,0.0009869493,0.00005907366,0.0001336832,0.004548691,0.000009921193,0.0003583258,0.00255337,0.9833594,0.0002128561],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9695498,0.004432995,0.00001096824,0.0007148842,0.0006043898,0.0001186503,0.00004408799,0.000005656758,0.02451862],"genre_scores_gemma":[0.9936432,0.0003095626,0.0001045537,0.0002545577,0.0002968246,9.892989e-7,0.000001122441,0.000005996031,0.00538324],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5371538,"threshold_uncertainty_score":0.9997748,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W341930195","doi":"","title":"An Oneiric Fugue: The Various Logics of Mulholland Drive","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Narrative; Witness; Nothing; Ideal (ethics); Aesthetics; Dream; Temptation; Literature; Philosophy; Art; Psychology; Theology; Linguistics; Epistemology","authors":[{"name":"David Andrews","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01708346519646206,"gpt":0.2176478493325218,"spread":0.2005643841360598,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002396134,0.00007674544,0.0001709341,0.00007162735,0.000199565,0.00004270242,0.0001238145,0.00002968125,0.0001756932],"category_scores_gemma":[0.000008932593,0.0000423417,0.00006349073,0.00001856063,0.000217292,0.0001938713,0.00001059336,0.0001405641,0.000004779766],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001889262,"about_ca_system_score_gemma":0.00005969047,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001263826,"about_ca_topic_score_gemma":0.0003069037,"domain_scores_codex":[0.9994157,0.00002190842,0.000274534,0.00005529088,0.0001299331,0.0001026436],"domain_scores_gemma":[0.9994825,0.00002550808,0.0002253669,0.0001031216,0.000105851,0.00005765501],"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":[0.0008327019,0.00133288,0.005222305,0.0003092049,0.0004906566,0.0002190542,0.7282302,0.001688017,0.004323071,0.1348509,0.07220276,0.05029826],"study_design_scores_gemma":[0.001967598,0.001618029,0.007684977,0.0001260049,0.0001232489,0.000197492,0.006690903,0.00004754325,0.0003347954,0.004654127,0.9763719,0.0001833765],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9846247,0.001260222,0.00007058491,0.0002487749,0.0007645168,0.00005714588,0.00001062559,0.000006325182,0.01295709],"genre_scores_gemma":[0.9976988,0.0002879255,0.00005933219,0.0003492935,0.0006804486,7.145274e-7,7.952302e-7,0.000006158902,0.000916497],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9041691,"threshold_uncertainty_score":0.1923717,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W299306573","doi":"","title":"Canada's Multimedia Master: An E-Mail Interview with Michael Snow","year":2005,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"The arts; German; Sight; Opera; Visual arts; Art history; Sociology; Art; Media studies; History","authors":[{"name":"Willie Varela","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03874064516503103,"gpt":0.2688802703011294,"spread":0.2301396251360983,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003601279,0.00007170076,0.0001448418,0.00002579424,0.0001535489,0.00006942265,0.0001162624,0.00004230111,0.0004199365],"category_scores_gemma":[0.00004877678,0.00004563346,0.0000232729,0.00007740647,0.00006930355,0.0002756527,0.00001577493,0.0001403915,0.000001449183],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001126875,"about_ca_system_score_gemma":0.0005194246,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.1312498,"about_ca_topic_score_gemma":0.8703117,"domain_scores_codex":[0.9992215,0.0000567267,0.0002150233,0.00006889903,0.0002750775,0.0001627856],"domain_scores_gemma":[0.9993972,0.00003947012,0.0001530557,0.00003786603,0.0001391422,0.0002332542],"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":[0.00003135994,0.00003021453,0.004599138,0.00000634757,0.00003748948,0.00003909559,0.00478416,0.000007463122,0.00002615355,0.0000273279,0.5515459,0.4388654],"study_design_scores_gemma":[0.0002990233,0.0000920518,0.008357945,0.0001068607,0.00001422211,0.00003366582,0.005306245,0.00004085761,0.00008507717,0.000007220031,0.985572,0.0000848329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7710733,0.003760818,0.000163213,0.2169512,0.0007733541,0.0002341677,0.00001849968,0.00001647195,0.007009021],"genre_scores_gemma":[0.9662452,0.0008405097,0.002601472,0.004344202,0.001199655,0.000001554084,0.00000206963,0.000009244148,0.02475609],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.739062,"threshold_uncertainty_score":0.8745353,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W63354150","doi":"","title":"Queer Film Classics Film Book Series ed. by Thomas Waugh, Matthew Hays (review)","year":2014,"lang":"en","type":"article","venue":"Journal of Film and Video","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":"Queer; Movie theater; Politics; Beauty; Art; Art history; Human sexuality; Queer theory; Literature; Sociology; Aesthetics; Gender studies; Law","authors":[{"name":"James Boyda","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01400155319631327,"gpt":0.219916992414157,"spread":0.2059154392178438,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000704208,0.0001945848,0.0007674481,0.0001044215,0.0001193569,0.00004667423,0.0001692838,0.00009008537,0.0006402605],"category_scores_gemma":[0.0003941968,0.0001650916,0.000198922,0.0000918793,0.00009300232,0.000434965,0.00006026638,0.0002455707,0.0001141349],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003000621,"about_ca_system_score_gemma":0.00002346898,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000158934,"about_ca_topic_score_gemma":0.0000113639,"domain_scores_codex":[0.9986095,0.00002568112,0.0008276704,0.0001959291,0.00007411194,0.000267115],"domain_scores_gemma":[0.9987446,0.0001302284,0.0006794353,0.0001945082,0.00008386655,0.0001673801],"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":[0.00001991525,0.00003398983,0.004275489,0.0002532485,0.00007639659,0.000005915294,0.0001895787,0.00000323663,0.00002712576,0.004761837,0.9885402,0.001813104],"study_design_scores_gemma":[0.0005700706,0.0002311654,0.002993712,0.0003502094,0.00004024397,0.00007503889,0.00009300336,0.00009466736,0.0001124028,0.001899086,0.9933353,0.0002050821],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.01222848,0.8920682,0.001595668,0.02471651,0.002195017,0.0003060214,0.0002287056,0.00003042666,0.06663095],"genre_scores_gemma":[0.0383177,0.8964014,0.00120368,0.009926627,0.001189315,0.00002083558,0.00001478841,0.00006065429,0.052865],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.02608922,"threshold_uncertainty_score":0.7010403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1573244767","doi":"","title":"Screen Traffic: Movies, Multiplexes, and Global Culture","year":2005,"lang":"en","type":"article","venue":"Journal of Film and Video","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":"Movie theater; Sociology; Media studies; Popular culture; Hegemony; Visual arts; Law; Politics; Political science; Art","authors":[{"name":"James McDougall","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02078901526014833,"gpt":0.234910513553904,"spread":0.2141214982937557,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002019925,0.00008996981,0.0003091329,0.00005502853,0.00006629945,0.00003623432,0.00005988723,0.00005600895,0.00004624398],"category_scores_gemma":[0.0001111346,0.00007464575,0.00006314385,0.00006709328,0.00004861898,0.0001881007,0.00002714393,0.0001033204,0.00001163358],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002584744,"about_ca_system_score_gemma":0.000009683307,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002530698,"about_ca_topic_score_gemma":0.0001069756,"domain_scores_codex":[0.9993511,0.000004679822,0.0003764898,0.0001071449,0.00003025793,0.0001303164],"domain_scores_gemma":[0.9995424,0.00002265044,0.0002364635,0.00005614543,0.00003342971,0.0001089239],"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":[0.0002721532,0.0003230023,0.300115,0.0001436486,0.0005423411,0.00006550495,0.007228001,0.0002737688,0.0001092759,0.03282829,0.4112653,0.2468338],"study_design_scores_gemma":[0.001772378,0.0002058425,0.108778,0.00004415906,0.00002217488,0.0001751115,0.000516438,0.0005658731,0.00001808529,0.001234513,0.8865001,0.0001673394],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8801723,0.1053399,0.000174446,0.005239607,0.0003290713,0.00008626051,0.0001376184,0.000009943663,0.008510877],"genre_scores_gemma":[0.9845302,0.01078826,0.002439967,0.0004714358,0.0005701379,8.677608e-7,0.000001474432,0.000005537896,0.001192137],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4752347,"threshold_uncertainty_score":0.3043965,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W236357903","doi":"","title":"Harvesting Surfaces: Handcrafted Film at the Changing of the Centuries Introduction, Notes, Acknowledgements","year":2002,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Art, Politics, and Modernism","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":"Film director; Nothing; Narrative; Movie theater; Feeling; Theme (computing); Visual arts; Art history; Art; History; Computer science; Literature; Psychology; Philosophy","authors":[{"name":"Simon Tarr","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0406100442404512,"gpt":0.2342308465826499,"spread":0.1936208023421988,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002959587,0.00009631965,0.0001605726,0.00005864982,0.0006630822,0.0000956855,0.0001371265,0.00002397236,0.001925856],"category_scores_gemma":[0.0003171749,0.00005080175,0.00008829954,0.00000801326,0.0003165641,0.0002203422,0.00008524509,0.0001340686,0.00001458399],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002448677,"about_ca_system_score_gemma":0.00001422652,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004905844,"about_ca_topic_score_gemma":0.001450715,"domain_scores_codex":[0.9991732,0.00005715761,0.0003234335,0.00007808583,0.0001804036,0.0001877763],"domain_scores_gemma":[0.9990755,0.0001037181,0.0003212522,0.0001336831,0.0003207679,0.00004511843],"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":[0.00004355847,0.000145562,0.004719901,0.0001597136,0.0002591182,0.000004085738,0.3780965,0.0002680493,0.0004627028,0.003217506,0.6071605,0.005462782],"study_design_scores_gemma":[0.0004168719,0.0000761337,0.00131944,0.0001267062,0.00008634571,0.00001937709,0.004357683,0.0007139654,0.00169365,0.0005763832,0.9905178,0.00009565156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9582968,0.008756571,0.0001072918,0.01220531,0.005717484,0.0002442044,0.00007722405,0.0000213565,0.01457376],"genre_scores_gemma":[0.906026,0.0003234783,0.00002967451,0.0003549129,0.002693723,0.000001061023,0.000001463245,0.00001126971,0.09055842],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3833573,"threshold_uncertainty_score":0.9989865,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7106285660","doi":"10.5406/19346018.77.4.04","title":"Forum of Award-Winning Films","year":2025,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Government (linguistics); Selection (genetic algorithm); Social media; Movie theater; Social life; Film industry","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.01231119531641998,"gpt":0.2361810167518349,"spread":0.2238698214354149,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009860329,0.00006237146,0.0001827336,0.00008365484,0.0000945459,0.00004716793,0.00007384558,0.00003004136,0.0005542981],"category_scores_gemma":[0.00004470527,0.00004181097,0.00009067656,0.00002818323,0.00006520996,0.0001178865,0.00001606409,0.0001125327,0.000002502241],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003435378,"about_ca_system_score_gemma":0.00003074096,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000103323,"about_ca_topic_score_gemma":0.00002164934,"domain_scores_codex":[0.9995011,0.00001192969,0.0002619559,0.00004618649,0.00008948546,0.00008933756],"domain_scores_gemma":[0.999586,0.00003316633,0.0001614561,0.00005364916,0.0001305326,0.00003518958],"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":[0.0001331515,0.00008312424,0.01085935,0.0002050096,0.0002345014,0.00002934937,0.03647216,0.00001277154,0.001150807,0.1305114,0.808132,0.01217643],"study_design_scores_gemma":[0.001095077,0.0002610327,0.00448822,0.0005401438,0.0001168839,0.0000311792,0.05928209,0.00005919565,0.0009085347,0.004709395,0.9283874,0.0001208614],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6488712,0.008367644,0.0001941822,0.007899391,0.002085944,0.0001245707,0.00003611441,0.00002096171,0.3324],"genre_scores_gemma":[0.9846783,0.00003746082,0.0001101097,0.0005272106,0.0001880398,4.765198e-7,6.663602e-7,0.000003840936,0.01445385],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3358072,"threshold_uncertainty_score":0.6069175,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W129338775","doi":"","title":"D. A. Pennebaker by Keith Beattie (review)","year":2014,"lang":"en","type":"article","venue":"Journal of Film and Video","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":"Movie theater; Film director; Art; Aesthetics; Art history","authors":[{"name":"Danielle Mia Beverly","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01641147483731487,"gpt":0.2210744232466849,"spread":0.20466294840937,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005133005,0.00007847581,0.000400371,0.00006449752,0.00004426566,0.00001337937,0.00007651869,0.00002961751,0.0002574533],"category_scores_gemma":[0.0002714255,0.00006508343,0.00008841707,0.00005675117,0.00002981285,0.0001048687,0.0000216195,0.0001052921,0.00005983176],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001072604,"about_ca_system_score_gemma":0.000006092961,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001156148,"about_ca_topic_score_gemma":0.00000530875,"domain_scores_codex":[0.9992967,0.000008249974,0.0004487451,0.00009338801,0.00003053614,0.000122341],"domain_scores_gemma":[0.9993685,0.00006431976,0.0003539899,0.00008453114,0.00003829219,0.00009040712],"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":[0.000009507972,0.00003980696,0.02723214,0.000138223,0.0000588608,0.000003106912,0.000160737,4.416353e-7,0.00002674145,0.004521449,0.9598972,0.007911799],"study_design_scores_gemma":[0.0005024472,0.0001559314,0.01698752,0.0001615298,0.00001831813,0.00002952896,0.00002215045,0.00002443385,0.00002458493,0.002805948,0.979172,0.00009559191],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.1182708,0.795295,0.001652262,0.0176118,0.001488679,0.0001623942,0.00005699917,0.00001158279,0.06545048],"genre_scores_gemma":[0.7449005,0.2397314,0.0009142811,0.006212443,0.0007813747,0.000005401122,0.000004215958,0.00002357097,0.007426822],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.6266297,"threshold_uncertainty_score":0.2818933,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4403485770","doi":"10.5406/19346018.76.4.01","title":"Editor's Introduction","year":2024,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Cynthia Baron","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00898166952294671,"gpt":0.2181094316711078,"spread":0.2091277621481611,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009610844,0.00004622334,0.00007810241,0.00005426063,0.00006526959,0.0001974075,0.00003150298,0.00002068971,0.001460206],"category_scores_gemma":[0.00002048171,0.00002869009,0.0000516738,0.00001670162,0.00003861748,0.0002245472,0.000004811368,0.000129865,0.00003299168],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000005750089,"about_ca_system_score_gemma":0.00001565764,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002394391,"about_ca_topic_score_gemma":0.000007211002,"domain_scores_codex":[0.9996654,0.000008455544,0.0001311002,0.00004944408,0.00008914066,0.00005642757],"domain_scores_gemma":[0.9998116,0.0000138923,0.00003781247,0.00003121771,0.00006648751,0.0000389581],"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":[0.000009569613,0.000006879667,0.00001900479,0.00003012671,0.00002718809,0.00001569917,0.0117242,7.212125e-7,0.00009448725,0.02073598,0.9612132,0.006122886],"study_design_scores_gemma":[0.00007988958,0.00008638655,0.00006824692,0.00004554402,0.00003079937,0.00008377575,0.004237682,0.00001622568,0.00004377305,0.001372162,0.993897,0.00003848184],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.3861217,0.06112076,0.000312919,0.1057278,0.2775863,0.0002686088,0.00006775552,0.0002398816,0.1685543],"genre_scores_gemma":[0.7688971,0.0001092309,0.00004103812,0.0001957569,0.2098681,6.068332e-7,0.000001490881,0.000008902643,0.02087776],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3827755,"threshold_uncertainty_score":0.9994526,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2750109846","doi":"10.5406/jfilmvideo.69.3.0019","title":"Possibilities in a Neoliberal World: Masculine Authority and Love in <i>Affliction</i>","year":2017,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Housing, Finance, and Neoliberalism","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":"Icon; Citation; Download; Sociology; Media studies; World Wide Web; Computer science","authors":[{"name":"Stacy Denton","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0275812213122926,"gpt":0.2563467045786761,"spread":0.2287654832663835,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007723999,0.0001124696,0.0004449541,0.0003798771,0.00007696071,0.0001772781,0.00014765,0.00007727796,0.00005765174],"category_scores_gemma":[0.00005539929,0.0001127439,0.0000690514,0.00009184087,0.0001065764,0.0006288874,0.00005494025,0.0002780658,0.000009322207],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004851271,"about_ca_system_score_gemma":0.00002405408,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001459537,"about_ca_topic_score_gemma":0.001687377,"domain_scores_codex":[0.9989077,0.00001566895,0.0006607799,0.0001784038,0.00003828523,0.0001991285],"domain_scores_gemma":[0.9992522,0.0000389558,0.0004185796,0.0001816505,0.00002643264,0.00008219438],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002750045,0.0002392295,0.9352199,0.0001204196,0.00004559521,0.0001955282,0.01369385,0.00006800659,0.0000582358,0.03818334,0.003897193,0.008003649],"study_design_scores_gemma":[0.002584102,0.0001343517,0.8982627,0.0001587783,0.000005784703,0.00008973534,0.000161742,0.0009541169,0.00004622005,0.03189407,0.06547993,0.0002284463],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9814107,0.003206388,0.00005165861,0.001602384,0.0004147618,0.0000622263,0.00002059013,0.000002733546,0.0132286],"genre_scores_gemma":[0.9924168,0.001628038,0.0005083816,0.0002706825,0.0002306192,8.633536e-7,4.878758e-7,0.000009719391,0.004934408],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.06158273,"threshold_uncertainty_score":0.4597565,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4400275514","doi":"10.5406/19346018.76.2.06","title":"“Everything for Someone”: The Evolution of Sundance Now's Specialty Streaming Service","year":2024,"lang":"en","type":"article","venue":"Journal of Film and Video","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":"Service (business); Specialty; Live streaming; Aesthetics; Advertising; Media studies; Psychology; Internet privacy; Sociology; Art; Multimedia; Business; Computer science; Marketing; Psychiatry","authors":[{"name":"Anne Major","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.023757183236064,"gpt":0.2416428305825562,"spread":0.2178856473464922,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005789944,0.00006241047,0.0002378789,0.0001121796,0.00007947434,0.00003941841,0.00007987153,0.00003416924,0.00002118608],"category_scores_gemma":[0.0001693981,0.00004648208,0.00009499717,0.000141353,0.00002861442,0.00020248,0.00002344314,0.0001269244,0.000005360475],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005871246,"about_ca_system_score_gemma":0.00004049726,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008764526,"about_ca_topic_score_gemma":0.000258613,"domain_scores_codex":[0.9993487,0.000005420234,0.0004208537,0.00008830843,0.00003273214,0.0001039561],"domain_scores_gemma":[0.9993432,0.0002394115,0.0002522141,0.00006524433,0.00006976617,0.00003020477],"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":[0.0005162194,0.0003130813,0.1870137,0.004572278,0.001615565,0.00004907421,0.04035125,0.0007919018,0.00245204,0.5267574,0.1750484,0.06051908],"study_design_scores_gemma":[0.00198256,0.0005688579,0.2328444,0.001255524,0.0001524013,0.000141199,0.007305231,0.01261975,0.0005050756,0.105505,0.6367146,0.0004053504],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8969837,0.07630975,0.007243695,0.01374869,0.002647828,0.0001768746,0.0001126651,0.000009291974,0.002767453],"genre_scores_gemma":[0.9964389,0.00172412,0.0004253819,0.0001019596,0.0006868818,0.000002301318,5.709294e-7,0.000007455452,0.0006124588],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4616663,"threshold_uncertainty_score":0.1895484,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W215402816","doi":"","title":"Women Filmmakers Refocusing","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","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":"Filmmaking; Context (archaeology); Mantra; Film director; Feminist theory; Gender studies; Politics; China; Media studies; Punk; Sociology; Film theory; Art history; Feminism; Movie theater; History; Political science; Law; Philosophy","authors":[{"name":"Laura Kissel","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02778333396581214,"gpt":0.2232405515311525,"spread":0.1954572175653403,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003130257,0.00006284623,0.0002713925,0.0001301226,0.00005764725,0.00002527056,0.00005421984,0.00003230483,0.00008125303],"category_scores_gemma":[0.000137105,0.00005600766,0.00005667721,0.00007975319,0.00003435267,0.0001483214,0.000020547,0.00009991172,0.00002414611],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007093289,"about_ca_system_score_gemma":0.00002008692,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001838014,"about_ca_topic_score_gemma":0.000004376454,"domain_scores_codex":[0.9993789,0.000002636192,0.0003674648,0.00007834149,0.00002538159,0.0001472787],"domain_scores_gemma":[0.9995271,0.0000220207,0.000274061,0.00006112062,0.00002768273,0.00008803488],"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":[0.0009102334,0.001077404,0.3608052,0.0006959163,0.002002154,0.0009645107,0.08922662,0.001790093,0.002782576,0.3533419,0.09636459,0.09003884],"study_design_scores_gemma":[0.005591617,0.0008371562,0.1133588,0.0002035625,0.00002361985,0.0003359179,0.003154543,0.00004006042,0.000526062,0.1254242,0.7500752,0.0004292546],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9835462,0.006564622,0.0003927071,0.002506863,0.0005240028,0.00002919651,0.000007832188,0.000004387196,0.006424178],"genre_scores_gemma":[0.9963923,0.001626775,0.0008270651,0.0003445061,0.0002422194,0.000001165115,2.017934e-7,0.000006696856,0.0005590905],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6537107,"threshold_uncertainty_score":0.2283926,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4392255090","doi":"10.5406/19346018.75.4.03","title":"“A Truer Test of Woodcraft”: Bell &amp; Howell Camera Advertising, <i>Nature Magazine</i>, and the Creation of the Modern “Camera Hunter”","year":2023,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Art history; Test (biology); Advertising; Business","authors":[{"name":"Phillip D. Duncan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01211839847456342,"gpt":0.2278712434360364,"spread":0.215752844961473,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004947532,0.00009941521,0.0004190287,0.000124369,0.00007996154,0.00002029177,0.0001271484,0.00007518978,0.00003003382],"category_scores_gemma":[0.000460397,0.00006010917,0.0001362935,0.0002011401,0.0001884951,0.0001124073,0.0000712457,0.0002394441,0.000005325807],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001049386,"about_ca_system_score_gemma":0.00001611583,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004975779,"about_ca_topic_score_gemma":0.00007487703,"domain_scores_codex":[0.9991352,0.00001823345,0.000548805,0.0001101574,0.00006687187,0.000120752],"domain_scores_gemma":[0.9987616,0.0003001049,0.000663692,0.0001538203,0.00008106673,0.00003972413],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0005155286,0.0002460082,0.8125211,0.0004638513,0.0005688455,0.000009136336,0.02087152,0.0002927073,0.003535978,0.006428912,0.1379267,0.01661974],"study_design_scores_gemma":[0.00572631,0.000299233,0.8223433,0.0004270781,0.0001706834,0.00008012021,0.0008716403,0.002495466,0.001075517,0.02148693,0.1447424,0.0002812828],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9713421,0.01636749,0.0001135905,0.006479309,0.0004282951,0.0001371585,0.00007764128,0.000004267406,0.00505011],"genre_scores_gemma":[0.9876209,0.008530843,0.0000798239,0.0002939064,0.0001254904,0.000001918612,0.000001390429,0.000009790794,0.003335958],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01999987,"threshold_uncertainty_score":0.2451181,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W76513265","doi":"","title":"Writing in Pictures: screenwriting Made (mostly) Painless by Joseph McBride (review)","year":2013,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Shakespeare, Adaptation, and Literary Criticism","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":"Screenwriting; Craft; Storytelling; Art; Visual arts; Peck (Imperial); Literature; Aesthetics; Narrative","authors":[{"name":"Shahin Izadi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02031081279723754,"gpt":0.2396764921316889,"spread":0.2193656793344513,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005906158,0.0001490459,0.0003321549,0.0001280587,0.0001739807,0.0002477732,0.0001353006,0.00003965273,0.001344482],"category_scores_gemma":[0.0001738677,0.0001188009,0.0001087851,0.00005137684,0.00009019808,0.0007967108,0.00001919763,0.0002794113,0.00001057679],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001848363,"about_ca_system_score_gemma":0.00003596926,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002063258,"about_ca_topic_score_gemma":0.00009740932,"domain_scores_codex":[0.9985325,0.0001078826,0.0007537391,0.0001258222,0.0002323184,0.0002477411],"domain_scores_gemma":[0.9989982,0.0002717407,0.0002510095,0.00008651685,0.0002728522,0.000119683],"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":[0.00007654884,0.0003681428,0.0090436,0.003346603,0.0002138988,0.0002518713,0.03825569,0.00002356276,0.00145376,0.2041111,0.6348639,0.1079913],"study_design_scores_gemma":[0.002308203,0.000385448,0.01807771,0.008742248,0.0001482696,0.0002838273,0.07602333,0.0005004277,0.0001759331,0.004395766,0.8882086,0.000750254],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7070994,0.1887223,0.000234365,0.009972945,0.0004204281,0.0005906365,0.00006938134,0.00005022361,0.09284037],"genre_scores_gemma":[0.9900692,0.002678376,0.0002165697,0.004530651,0.0007910312,0.000006363648,0.000007906619,0.00001878288,0.001681098],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2829699,"threshold_uncertainty_score":0.9995684,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1526664050","doi":"","title":"The Religious Film: Christianity and the Hagiopic (review)","year":2011,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Media, Religion, Digital Communication","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":"Christianity; Scholarship; Movie theater; Ideology; Subject (documents); Sociology; History; Aesthetics; Media studies; Philosophy; Art history; Law; Politics; Computer science; Archaeology; Political science","authors":[{"name":"Jennifer Fleeger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03560707666937027,"gpt":0.2337679584482779,"spread":0.1981608817789076,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007815667,0.00008243024,0.0001800821,0.00002440949,0.0004335507,0.0001491741,0.0002483721,0.00002062233,0.00006457775],"category_scores_gemma":[0.0003181981,0.00003712574,0.0000722315,0.00001886002,0.0005723017,0.0001613222,0.0000612462,0.0002082418,0.000008882453],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006687639,"about_ca_system_score_gemma":0.00003173994,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001744589,"about_ca_topic_score_gemma":0.0002564164,"domain_scores_codex":[0.9992344,0.0001166337,0.0003529471,0.00005364718,0.0001439082,0.00009851015],"domain_scores_gemma":[0.998895,0.0003412504,0.0003124967,0.000225618,0.0001651238,0.00006046068],"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":[0.0001868505,0.00005146344,0.0002954023,0.0001848557,0.0001111524,0.00001032917,0.02206344,1.737803e-7,0.000002832342,0.1554026,0.7976147,0.02407615],"study_design_scores_gemma":[0.001007641,0.0002249433,0.002367732,0.0005962608,0.0001505397,0.0001802247,0.0005337367,0.0000433675,0.00001793846,0.1318726,0.8628741,0.0001309654],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.02338543,0.6648892,0.00002028134,0.006479887,0.0006167496,0.0002907381,0.000007285164,0.00001551739,0.304295],"genre_scores_gemma":[0.7011939,0.2967099,0.00002175106,0.001037702,0.0002043497,0.000003637814,6.895745e-7,0.000005961273,0.0008220879],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.6778085,"threshold_uncertainty_score":0.3334565,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}