{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":36,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":36,"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":"1f4ab13f3c2f","filters":{"venue":"Journal of Italian Cinema and Media Studies"}},"results":[{"id":"W2771190967","doi":"10.1386/jicms.6.1.3_2","title":"Documentary films on migrations in Italy: Characteristics and ethics","year":2017,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war 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 British Columbia","funders":"","keywords":"Documentary film; Art; Art history","authors":[{"name":"Gaoheng Zhang","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06443146298074434,"gpt":0.3753313579975034,"spread":0.3108998950167591,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001054608,0.00009764484,0.0002777391,0.00006331041,0.000882862,0.0001494268,0.0001337248,0.00009099756,0.00001579303],"category_scores_gemma":[0.002464776,0.00007515225,0.00005457202,0.00004439477,0.0006087738,0.0003407166,0.0000500703,0.0003055031,0.00000217526],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002847868,"about_ca_system_score_gemma":0.00009405966,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001716604,"about_ca_topic_score_gemma":0.001639605,"domain_scores_codex":[0.9990786,0.0000824087,0.0002747496,0.00009560816,0.0003006367,0.000167961],"domain_scores_gemma":[0.9988297,0.000479925,0.0002966405,0.0001016494,0.0001682467,0.0001237925],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0000903088,0.0001482086,0.2348459,0.0001560397,0.0003110174,0.0002649395,0.6519896,4.072126e-7,0.000133498,0.008018784,0.09398901,0.01005235],"study_design_scores_gemma":[0.001501641,0.0003902346,0.6350508,0.0008063361,0.0001523325,0.00002798285,0.291127,0.000003466388,0.00005830671,0.003343484,0.06721338,0.000325039],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9537345,0.002760794,0.000001193275,0.04054825,0.00104955,0.00008830734,0.00002439399,0.000004273122,0.001788768],"genre_scores_gemma":[0.9855478,0.01235823,0.0001900036,0.0007832003,0.0004551389,0.000001820968,0.000001612923,0.000005214528,0.0006569379],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4002049,"threshold_uncertainty_score":0.6790349,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2962239105","doi":"10.1386/jicms.5.1.111_5","title":"Book Reviews","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Educational and Social Studies","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":"Art; Movie theater; Humanities; Art history; Comedy; Vision; Media studies; Sociology; Anthropology","authors":[{"name":"Norma Bouchard","is_ca":false},{"name":"Stefania Benini","is_ca":false},{"name":"Marco Benoît Carbone","is_ca":false},{"name":"Julia Heim","is_ca":false},{"name":"Gian Maria Annovi","is_ca":false},{"name":"Mikel J. Koven","is_ca":false},{"name":"Laura Leuzzi","is_ca":false},{"name":"Karen Raizen","is_ca":false},{"name":"Francesco Fiumara","is_ca":false},{"name":"Giovanni Ciofalo","is_ca":false},{"name":"Sergio Rigoletto","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08177014570062523,"gpt":0.3940325100194475,"spread":0.3122623643188223,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008162982,0.0000690817,0.0003062524,0.0000426672,0.000337425,0.00001097647,0.00007526715,0.00002695163,0.000102716],"category_scores_gemma":[0.002931718,0.00003485644,0.00008103444,0.00007894196,0.0004317914,0.0001929672,0.00002316627,0.00004443193,0.00001370969],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005046036,"about_ca_system_score_gemma":0.00007861152,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001326369,"about_ca_topic_score_gemma":0.0002325184,"domain_scores_codex":[0.9991762,0.0000952706,0.0002884247,0.00006145229,0.0002375063,0.000141159],"domain_scores_gemma":[0.9988376,0.0004990768,0.0002184442,0.00003247831,0.0003042162,0.000108194],"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":[0.000008579328,0.00002634314,0.006862474,0.00002021509,0.0001210985,0.000007163258,0.08360738,3.444686e-9,0.00005166911,0.006559375,0.8786152,0.0241205],"study_design_scores_gemma":[0.0001853579,0.00003211437,0.007652622,0.0002076488,0.0000359709,0.000003112418,0.03301837,1.328597e-9,0.00001134377,0.00345778,0.9553395,0.0000562074],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.05297749,0.7359536,0.000009368744,0.1983348,0.002357727,0.0001386424,0.00000320113,0.000009743963,0.0102154],"genre_scores_gemma":[0.1207503,0.8417928,0.0002482764,0.0025085,0.004233527,0.000008874779,1.03632e-7,0.00000669109,0.03045101],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.1958263,"threshold_uncertainty_score":0.3509752,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389094845","doi":"10.1386/jicms_00218_1","title":"Federico Fellini’s effect in Argentine cinema: The case of Leonardo Favio","year":2023,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","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":"Université de Montréal","funders":"","keywords":"Movie theater; Art; Originality; Art history; Literature; Sociology; Social science","authors":[{"name":"Marina Vargau","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03667291881021335,"gpt":0.3426755461985092,"spread":0.3060026273882958,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002823464,0.0001468953,0.0005242776,0.0001370781,0.0003830351,0.00003196839,0.0001690127,0.00007689841,0.00002258922],"category_scores_gemma":[0.001475681,0.00008832548,0.0001924882,0.0006932222,0.0005040867,0.000143763,0.00006817403,0.0002134308,0.000007718199],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003220309,"about_ca_system_score_gemma":0.00009198547,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001827486,"about_ca_topic_score_gemma":0.001273073,"domain_scores_codex":[0.998414,0.0002699901,0.0005272227,0.0001254957,0.0003517483,0.0003115632],"domain_scores_gemma":[0.9979843,0.001213943,0.0003320177,0.0001085794,0.0002399115,0.0001212343],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00024978,0.0002161312,0.1923296,0.000716252,0.0009640247,0.007554824,0.54641,0.00002135854,0.000490681,0.003990967,0.2259955,0.02106088],"study_design_scores_gemma":[0.003492517,0.0008738728,0.06925672,0.0006957914,0.0004188102,0.0004956389,0.8904498,0.00002062975,0.0004889916,0.002569406,0.03080104,0.0004368072],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9802958,0.008112554,0.000001798944,0.009259637,0.001165851,0.0001900786,0.00001201349,0.00001276366,0.0009495276],"genre_scores_gemma":[0.9914842,0.006868486,0.00004019701,0.0001369139,0.0005877732,0.000005043209,0.000001244292,0.00000974777,0.0008663452],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3440398,"threshold_uncertainty_score":0.3601809,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4403549653","doi":"10.1386/jicms_00293_7","title":"Francesco Pasinetti (1911–49): Essays on documentary filmmaking","year":2024,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Filmmaking; Documentary evidence; Documentary film; Art; Art history; Political science; Law","authors":[{"name":"Alberto Zambenedetti","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03566219453040745,"gpt":0.3439971927677261,"spread":0.3083349982373187,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00098062,0.000167113,0.0003591863,0.0001246817,0.0004102519,0.0001405781,0.0001608027,0.00008007755,0.0000898371],"category_scores_gemma":[0.0003812991,0.000119539,0.0001800072,0.0002835348,0.0003963103,0.0004241815,0.0000399233,0.0002797259,0.00002788527],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000777935,"about_ca_system_score_gemma":0.0001239087,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005613235,"about_ca_topic_score_gemma":0.0001770717,"domain_scores_codex":[0.9984537,0.0001045707,0.0003806687,0.0001721607,0.0005837381,0.000305131],"domain_scores_gemma":[0.9988643,0.0005752489,0.0001450236,0.0000836816,0.0001625102,0.0001692221],"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":[0.00007151075,0.00008160116,0.005516855,0.0003749102,0.0008662285,0.0008065069,0.2783149,0.000004271536,0.0001541262,0.01161966,0.6642839,0.0379056],"study_design_scores_gemma":[0.001008345,0.0005684701,0.006222857,0.003027025,0.0003276821,0.00008694176,0.26572,0.000007295051,0.0002564508,0.009098583,0.7131872,0.0004892293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7366081,0.1451567,0.00002655159,0.05675363,0.01348581,0.0003455753,0.00005965518,0.0001070509,0.04745691],"genre_scores_gemma":[0.9827682,0.01054371,0.0003054769,0.001049572,0.002996188,0.000003582151,0.000001914084,0.00001623462,0.002315142],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.24616,"threshold_uncertainty_score":0.4874657,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4237491843","doi":"10.1386/jicms.2.2.293_5","title":"Reviews","year":2014,"lang":"it","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Art; Humanities; Movie theater; Art history","authors":[{"name":"Alex Marlow-Mann","is_ca":false},{"name":"Camilla Zamboni","is_ca":false},{"name":"Alberto Zambenedetti","is_ca":true},{"name":"Lorenzo Fabbri","is_ca":false},{"name":"Marco Santello","is_ca":false},{"name":"Mikel J. Koven","is_ca":false},{"name":"Marco Purpura","is_ca":false},{"name":"Gius Gargiulo","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04577001844760316,"gpt":0.3256005937715972,"spread":0.279830575323994,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003999398,0.0002917185,0.001169676,0.0001020158,0.00052917,0.00008993336,0.0002939131,0.0001655069,0.0001082557],"category_scores_gemma":[0.003880765,0.0002047781,0.0004202351,0.000332336,0.0008534878,0.0003579079,0.00009502803,0.0003544562,0.00007857674],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006331933,"about_ca_system_score_gemma":0.0001157388,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002105793,"about_ca_topic_score_gemma":0.00008838331,"domain_scores_codex":[0.9971962,0.0005126937,0.001006271,0.0002124679,0.0006203455,0.000451998],"domain_scores_gemma":[0.9972028,0.0007338264,0.000962821,0.0001752558,0.0005210254,0.0004042781],"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":[0.00003923924,0.0000995638,0.00428335,0.0004893083,0.0005227986,0.00004138311,0.2619262,3.775077e-7,0.00007252189,0.004471671,0.6917271,0.0363265],"study_design_scores_gemma":[0.0007762007,0.0003377155,0.002711329,0.00103145,0.0004405371,0.000041061,0.09419859,0.000002203746,0.00002678846,0.001565532,0.8985972,0.0002713512],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2514997,0.5871772,0.00009503803,0.08940477,0.02573273,0.0009223234,0.00004882915,0.00004255745,0.04507679],"genre_scores_gemma":[0.5644786,0.4039371,0.001188755,0.002871516,0.01043818,0.000005510143,0.00000217967,0.00003707876,0.01704116],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.3129788,"threshold_uncertainty_score":0.8350608,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4236588366","doi":"10.1386/jicms.7.1.147_5","title":"Book reviews","year":2018,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","authors":[{"name":"Luca Somigli","is_ca":true},{"name":"Dana Renga","is_ca":false},{"name":"Sarah Hill","is_ca":false},{"name":"Matthew J. Griffith","is_ca":false},{"name":"Alberto Brodesco","is_ca":false},{"name":"Monica Jansen","is_ca":false},{"name":"Flavia Brizio‐Skov","is_ca":false},{"name":"Stefano Bona","is_ca":false},{"name":"Alessandro Carpin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04715025019254573,"gpt":0.350681151384925,"spread":0.3035309011923793,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001359118,0.0001020912,0.0003808529,0.00005256785,0.0004173336,0.00003266805,0.0001359104,0.00005667041,0.0001864649],"category_scores_gemma":[0.001344586,0.00006960624,0.0001326584,0.0001539135,0.0008189677,0.0002827243,0.00003550968,0.0001092648,0.00004364068],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003349839,"about_ca_system_score_gemma":0.00008411973,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001287009,"about_ca_topic_score_gemma":0.0001707848,"domain_scores_codex":[0.9988918,0.0001250909,0.0003735989,0.00009086947,0.0002978097,0.0002208037],"domain_scores_gemma":[0.9988872,0.000175788,0.0002790517,0.00007875375,0.0004044427,0.00017475],"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":[0.0000100452,0.00001399114,0.0008740053,0.00002908972,0.00006879392,0.0000133405,0.1058313,4.597708e-9,0.0000317882,0.0006222334,0.8875007,0.005004687],"study_design_scores_gemma":[0.0002478125,0.0001243753,0.0009645557,0.000168942,0.00006414801,0.00001419489,0.04120633,9.631349e-8,0.00005130827,0.0004714392,0.9566013,0.00008554707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.09696227,0.8106138,0.00002824011,0.0450346,0.007258527,0.0003892244,0.00001041711,0.00003202827,0.03967092],"genre_scores_gemma":[0.2615908,0.6307072,0.003014736,0.02038391,0.02226095,0.0000111029,0.00000179816,0.00004006117,0.06198939],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.1799066,"threshold_uncertainty_score":0.3209835,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4234086131","doi":"10.1386/jicms.3.3.411_5","title":"Film Reviews","year":2015,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Art; Humanities; Art history","authors":[{"name":"Ellen Nerenberg","is_ca":false},{"name":"Anthony Cristiano","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1054502213919356,"gpt":0.3651027210943198,"spread":0.2596524997023842,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002136172,0.0001007008,0.0004079989,0.00005092666,0.0001979834,0.00003404501,0.0001334832,0.00005662684,0.00002577915],"category_scores_gemma":[0.002901543,0.00006838668,0.0001241948,0.0001684298,0.0003465947,0.0002542779,0.00003637577,0.0001248115,0.0000236716],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004851041,"about_ca_system_score_gemma":0.0001520582,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002500162,"about_ca_topic_score_gemma":0.000199526,"domain_scores_codex":[0.9988051,0.0001552401,0.0003731467,0.00008204297,0.0003811178,0.0002033328],"domain_scores_gemma":[0.9987457,0.0001771746,0.0002754071,0.00007300873,0.0004216568,0.0003070232],"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":[0.00001421492,0.00002286084,0.003163516,0.0000372065,0.00007992821,0.00003569552,0.218305,2.111755e-7,0.000009884966,0.001135812,0.7717465,0.005449183],"study_design_scores_gemma":[0.0004462083,0.0000953546,0.0008215959,0.000149024,0.00007023908,0.00002106872,0.1937393,3.10165e-7,0.00001371152,0.001420363,0.8031249,0.00009795131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.4097325,0.4667235,0.00004261007,0.05236874,0.0106933,0.000541355,0.00002026916,0.00004592817,0.05983184],"genre_scores_gemma":[0.7894253,0.1705134,0.004112559,0.003389574,0.008365299,0.00001098368,0.000003040017,0.00003240465,0.02414742],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3796928,"threshold_uncertainty_score":0.3473627,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253468717","doi":"10.1386/jicms.1.2.209_5","title":"REVIEWS","year":2013,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Art history; Art; Politics; Humanities; Media studies; Political science; Sociology; Law","authors":[{"name":"Mikel J. Koven","is_ca":false},{"name":"Fulvio Orsitto","is_ca":false},{"name":"Patrizia La Trecchia","is_ca":false},{"name":"Luca Caminati","is_ca":true},{"name":"Lucia Rinaldi","is_ca":false},{"name":"Lorenzo Fabbri","is_ca":false},{"name":"Nicoletta Marini-Maio","is_ca":false},{"name":"Graziella Parati","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04935157327720692,"gpt":0.3335400291604774,"spread":0.2841884558832705,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001011162,0.00009666501,0.0003761539,0.0000485148,0.0002715221,0.00004844327,0.0001252131,0.00005243442,0.0001584782],"category_scores_gemma":[0.001356168,0.00006368903,0.0001337758,0.0001425569,0.0003488098,0.0003504286,0.00003026712,0.0001196322,0.0000648043],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002915157,"about_ca_system_score_gemma":0.00005842141,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005649175,"about_ca_topic_score_gemma":0.0001269754,"domain_scores_codex":[0.9989444,0.0001191427,0.0003742328,0.0000773213,0.0002762926,0.0002086094],"domain_scores_gemma":[0.9989208,0.0002175009,0.0002604112,0.00006850334,0.0003446347,0.0001881529],"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":[0.000004398286,0.00002722302,0.004783404,0.00006899419,0.000114294,0.00001508613,0.1445024,4.3858e-8,0.00009299554,0.001589074,0.8258304,0.02297169],"study_design_scores_gemma":[0.0004010224,0.00009155387,0.008393866,0.0002472046,0.00008522865,0.00002041724,0.1611061,2.874195e-7,0.00003126397,0.002999566,0.8264705,0.0001529879],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6871262,0.2217954,0.00001743415,0.05721845,0.004815903,0.0006153801,0.000006199536,0.00002932532,0.02837572],"genre_scores_gemma":[0.794306,0.1817769,0.002582852,0.002681119,0.004115227,0.00001753645,0.000001070694,0.00001928379,0.01450005],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1071797,"threshold_uncertainty_score":0.2597163,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2951566826","doi":"10.1386/jicms.7.3.377_1","title":"The ‘primal scene’: Memory, redemption and ‘woman’ in the films of Paolo Sorrentino","year":2019,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Movie theater; Subject (documents); Context (archaeology); Alterity; Art; Normative; Aesthetics; Gender studies; Constitution; Trilogy; Sociology; History; Art history; Literature; Philosophy; Epistemology; Political science","authors":[{"name":"Russell Kilbourn","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02288445313328179,"gpt":0.3029041423682479,"spread":0.2800196892349661,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00210583,0.00008718431,0.0002526733,0.0000407757,0.0003005047,0.00004430919,0.0001740301,0.00005277796,0.00001587976],"category_scores_gemma":[0.000500078,0.00004470829,0.0000813789,0.0001407021,0.0005285576,0.000158966,0.00004361325,0.0001529676,0.000002102609],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000150996,"about_ca_system_score_gemma":0.00006131362,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005494789,"about_ca_topic_score_gemma":0.000262867,"domain_scores_codex":[0.9988175,0.0001881341,0.0003282035,0.00008473951,0.0003907776,0.0001906616],"domain_scores_gemma":[0.9987716,0.0006593499,0.0002717742,0.0000873431,0.0001593762,0.0000505754],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001553969,0.0001089927,0.2002298,0.0001986381,0.000296328,0.00002988194,0.6829073,0.000002016759,0.0006607033,0.004215023,0.09504513,0.01615077],"study_design_scores_gemma":[0.001021211,0.0002518301,0.2070302,0.0002211637,0.00008592589,0.00002820588,0.7767047,0.000005842192,0.00009856397,0.001339955,0.01308608,0.0001263266],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9768738,0.01160382,4.414555e-7,0.00781214,0.0009275884,0.0001488678,0.000003526253,0.000002589472,0.002627257],"genre_scores_gemma":[0.9898174,0.009051293,0.00007008614,0.0001817423,0.0002819952,0.000001804607,4.201428e-7,0.000003776312,0.0005914935],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09379739,"threshold_uncertainty_score":0.2311269,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4252100391","doi":"10.1386/jicms.4.3.463_5","title":"Film Reviews","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"The arts; Art; Media studies; Art history; Humanities; Sociology; Visual arts","authors":[{"name":"Sarah Annunziato","is_ca":false},{"name":"Anthony Cristiano","is_ca":true},{"name":"Stefania Benini","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08051984191056172,"gpt":0.2758908867167378,"spread":0.1953710448061761,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007535535,0.000158262,0.0009298479,0.0002020548,0.00007274635,0.00001167447,0.0001052636,0.00004153918,0.0001040439],"category_scores_gemma":[0.002735298,0.0000916536,0.0001642741,0.0001149916,0.0001614185,0.0001975364,0.00006176416,0.00008076384,0.000103522],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003676422,"about_ca_system_score_gemma":0.00001158671,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00000213468,"about_ca_topic_score_gemma":0.00002255516,"domain_scores_codex":[0.9986297,0.00001491575,0.0009265069,0.0001618114,0.00005312384,0.0002139571],"domain_scores_gemma":[0.9986548,0.0002875691,0.0006787375,0.0001292689,0.0001178468,0.0001317568],"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":[0.00009008546,0.0001338078,0.1134499,0.0003951765,0.0009669392,0.0001282704,0.01480628,2.171579e-7,0.0005058979,0.02907272,0.7925447,0.04790603],"study_design_scores_gemma":[0.001784192,0.0002436025,0.02498578,0.0006149925,0.00006082836,0.0001119848,0.00304005,5.876529e-7,0.0001508264,0.01587193,0.9528815,0.0002537446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2411726,0.7067742,0.0003199197,0.03814135,0.004695184,0.0002541754,0.00006027091,0.00001781141,0.008564501],"genre_scores_gemma":[0.6091254,0.3786764,0.001087649,0.0006969222,0.001672745,0.00001625473,5.773229e-7,0.0000244173,0.008699611],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.3679529,"threshold_uncertainty_score":0.3737526,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2464666569","doi":"10.1386/jicms.4.3.353_1","title":"Stolen bicycles and exploited children: Italian cinema and its relation to the cinema of independent India (1947–1977)","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Movie theater; Realism; Ideology; Intertextuality; Partition (number theory); Aesthetics; Relation (database); Politics; History; Sociology; Literature; Media studies; Art; Political science; Law","authors":[{"name":"Carlo Coen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02525005764923131,"gpt":0.2914839179158974,"spread":0.2662338602666661,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001508647,0.0002111074,0.0004954842,0.000185658,0.0004437451,0.00005281332,0.000193627,0.000136623,0.00002237014],"category_scores_gemma":[0.00152264,0.0001195618,0.00009221993,0.0003370687,0.0004203444,0.0004132037,0.0001223869,0.0001636115,0.000003567459],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005327853,"about_ca_system_score_gemma":0.0001135405,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008968011,"about_ca_topic_score_gemma":0.0004105799,"domain_scores_codex":[0.998112,0.0002043324,0.0005518358,0.0002166731,0.0005735611,0.0003415627],"domain_scores_gemma":[0.9981686,0.0005098877,0.0004461486,0.0001286411,0.0004338779,0.0003128652],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002232344,0.0001427315,0.525658,0.0002089369,0.001044934,0.00005518482,0.3977422,0.000002387315,0.003916821,0.003175059,0.04455087,0.02327961],"study_design_scores_gemma":[0.001477268,0.0003437138,0.8874875,0.000642777,0.0002032056,0.00008186627,0.1048085,9.878755e-7,0.0003964557,0.0007466705,0.003571225,0.0002398713],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9654779,0.0113446,0.00001282934,0.02193921,0.0004599835,0.0003101164,0.00004491613,0.00001246692,0.0003979889],"genre_scores_gemma":[0.9884855,0.009841145,0.0001507827,0.0003170707,0.0006376459,0.00000632314,0.000001371765,0.00001505916,0.00054514],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3618294,"threshold_uncertainty_score":0.487559,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4403549834","doi":"10.1386/jicms_00281_1","title":"Once upon a time in Naples: Intermediality and Bildung as chronotope in The Hand of God and Martin Eden","year":2024,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Narrative Theory and Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Chronotope; Bildung; Art; Humanities; Literature","authors":[{"name":"Russell Kilbourn","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02771787928940938,"gpt":0.2901329288500561,"spread":0.2624150495606467,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009454583,0.0001028834,0.0003750855,0.0001853736,0.00008074845,0.00009471794,0.0000580627,0.00001959558,0.000110262],"category_scores_gemma":[0.0002638449,0.00005612887,0.00004557775,0.00006931909,0.0005043906,0.0002021754,0.00004115825,0.0001450854,0.000001124846],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001317221,"about_ca_system_score_gemma":0.00002422724,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000309297,"about_ca_topic_score_gemma":0.001559838,"domain_scores_codex":[0.9991806,0.000127357,0.0003733228,0.00009829367,0.0001214927,0.00009893917],"domain_scores_gemma":[0.9993441,0.0004020742,0.0001138759,0.0000460629,0.00006093429,0.00003292295],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000248299,0.00009806645,0.005678875,0.0006367746,0.0004916322,0.0002819158,0.959557,0.000001022079,0.00153463,0.01833451,0.002412242,0.01072506],"study_design_scores_gemma":[0.002845543,0.001814491,0.018167,0.005903075,0.0006105994,0.0002260529,0.9052829,0.0001867981,0.0008458958,0.03343094,0.03023021,0.000456539],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9703092,0.02467042,6.023713e-7,0.003708285,0.0001455783,0.00006845999,0.000007430898,0.000001955459,0.00108808],"genre_scores_gemma":[0.9968767,0.002189838,0.000007791265,0.00007956769,0.0003187562,0.000002777144,5.910235e-7,0.000004171662,0.0005198669],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05427412,"threshold_uncertainty_score":0.2288869,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4244067940","doi":"10.1386/jicms.1.1.103_5","title":"REVIEWS","year":2012,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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; Publishing; Media studies; The Holocaust; Art history; History; Humanities; Art; Sociology; Political science; Law; Literature","authors":[{"name":"Stefania Benini","is_ca":false},{"name":"Clarissa Clò","is_ca":false},{"name":"Lina Insana","is_ca":false},{"name":"Chiara Ferrari","is_ca":false},{"name":"Elena Past","is_ca":false},{"name":"George Guida","is_ca":false},{"name":"Alan O’Leary","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07265082205527366,"gpt":0.3620936101092651,"spread":0.2894427880539914,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002062229,0.00009344887,0.0003599722,0.00004623141,0.0002776591,0.00002121695,0.0001009871,0.00005246139,0.00005381445],"category_scores_gemma":[0.001473979,0.00006283142,0.0001352534,0.0001415118,0.0003024829,0.0003859374,0.00002939253,0.0001181058,0.00002391366],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003429884,"about_ca_system_score_gemma":0.00004654415,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001163069,"about_ca_topic_score_gemma":0.00005941905,"domain_scores_codex":[0.9989109,0.0001381223,0.0003378172,0.00005530622,0.0002807429,0.0002771167],"domain_scores_gemma":[0.9990318,0.0002192098,0.0002561159,0.00006219019,0.0001810913,0.0002495702],"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":[0.00001292294,0.00006360577,0.03140644,0.00009594124,0.0001625082,0.00001232299,0.388806,2.841963e-8,0.00006686589,0.004724171,0.5574765,0.01717263],"study_design_scores_gemma":[0.000240542,0.00004057943,0.007014475,0.000137259,0.00009069839,0.00002025742,0.1065458,3.491191e-8,0.0000286774,0.0003913371,0.8853912,0.00009911901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.4481013,0.5031111,0.00001743695,0.01825923,0.007329231,0.0002771447,0.000007542676,0.00002113246,0.02287584],"genre_scores_gemma":[0.8692431,0.1184293,0.001296205,0.001097104,0.005384531,0.000003673946,6.46352e-7,0.00001089017,0.004534568],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4211418,"threshold_uncertainty_score":0.2562191,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4247625095","doi":"10.1386/jicms.4.1.143_5","title":"Book Reviews","year":2015,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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":"Humanities; Art; Art history; Movie theater; History","authors":[{"name":"Stefania Lucamante","is_ca":false},{"name":"Serena Formica","is_ca":false},{"name":"Donatella Valente","is_ca":false},{"name":"Andrea Bini","is_ca":false},{"name":"Luciana d’Arcangeli","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08465106253511001,"gpt":0.358204622134185,"spread":0.273553559599075,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001938251,0.000101306,0.0004093335,0.00005057025,0.0001972082,0.00003298714,0.0001291672,0.00005553057,0.00004251059],"category_scores_gemma":[0.002191281,0.00006903082,0.0001243761,0.000141273,0.0003650949,0.0003241577,0.0000353353,0.0001236341,0.0000252606],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000530075,"about_ca_system_score_gemma":0.0001554736,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001727706,"about_ca_topic_score_gemma":0.00009936497,"domain_scores_codex":[0.9988059,0.0001521563,0.0003748068,0.00008186413,0.000381619,0.0002036109],"domain_scores_gemma":[0.9987797,0.000159625,0.0002754842,0.00007236732,0.0004011391,0.0003117065],"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":[0.000009648285,0.00001446767,0.00102304,0.00002400043,0.00005389575,0.00002410171,0.1162886,6.092753e-8,0.000006099671,0.0004865332,0.8793449,0.002724655],"study_design_scores_gemma":[0.0003705006,0.00007958179,0.0003524339,0.0001223898,0.00006057539,0.00001742896,0.09182798,1.159708e-7,0.00001215885,0.000653398,0.9064224,0.00008105943],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.03990793,0.9006715,0.00001338185,0.03407339,0.004046831,0.0002424651,0.000006071835,0.00001951946,0.02101891],"genre_scores_gemma":[0.1749509,0.7118771,0.003737109,0.01896835,0.0126723,0.00001685744,0.000003450037,0.00004916454,0.07772477],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.1887944,"threshold_uncertainty_score":0.2814995,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413474561","doi":"10.1386/jicms_00336_5","title":"America non c’è, Davide Marchesi (dir.) (2021), Italy: COLOREfilm","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Literature and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Geography","authors":[{"name":"Rachel Grasso","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01714308926822607,"gpt":0.2631141087873085,"spread":0.2459710195190824,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001967668,0.0002218543,0.000579696,0.0002001118,0.0002696903,0.0001537096,0.0001481384,0.00005685413,0.0002511932],"category_scores_gemma":[0.0002593356,0.000141956,0.0001650095,0.0001075315,0.0004148598,0.0002981304,0.00005866737,0.0002722555,0.00001383219],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003332873,"about_ca_system_score_gemma":0.00006325371,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000008279761,"about_ca_topic_score_gemma":0.0001212479,"domain_scores_codex":[0.9988428,0.00004051235,0.0004808385,0.0001596861,0.0002324729,0.000243678],"domain_scores_gemma":[0.9988552,0.0001677199,0.0002471394,0.0001228394,0.0005049015,0.0001021894],"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":[0.0001309164,0.0000907704,0.000394639,0.0002316021,0.000803385,0.0001822784,0.08393575,4.262213e-7,0.0003377925,0.01213164,0.8875615,0.0141993],"study_design_scores_gemma":[0.0006690383,0.0002807988,0.001396916,0.0005439263,0.0002710256,0.00003135797,0.07547149,0.000001622092,0.0001564992,0.002015675,0.9189847,0.0001770192],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.355575,0.3719985,0.00003154944,0.03783476,0.01084485,0.000576571,0.0001608679,0.00006010077,0.2229178],"genre_scores_gemma":[0.8572686,0.003094525,0.0005444147,0.003839892,0.004044079,0.0000168259,0.00001754491,0.00002883066,0.1311452],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5016937,"threshold_uncertainty_score":0.5788797,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4242383050","doi":"10.1386/jicms.2.1.119_7","title":"Film Reviews","year":2014,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":"University of Toronto","funders":"","keywords":"Duration (music); Geography; Humanities; Art; Literature","authors":[{"name":"Graziella Parati","is_ca":false},{"name":"Anthony Cristiano","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04818841776721555,"gpt":0.3376887873943659,"spread":0.2895003696271504,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001342812,0.00006830619,0.0003948543,0.00005393938,0.0002711799,0.00001269514,0.00008810226,0.00002955086,0.00005773755],"category_scores_gemma":[0.002331552,0.00004302509,0.0001185286,0.0001381521,0.0002340415,0.00009988863,0.0000121726,0.00007897952,0.00001032378],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002435198,"about_ca_system_score_gemma":0.00002102155,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000007782598,"about_ca_topic_score_gemma":0.0004261053,"domain_scores_codex":[0.9991419,0.0001920414,0.0002839096,0.00006469085,0.000206468,0.0001110314],"domain_scores_gemma":[0.9991819,0.0001876801,0.0002819421,0.00005286723,0.0001777442,0.0001179014],"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":[0.00001739368,0.00003943405,0.003478209,0.00007425459,0.0002862219,0.00001505726,0.2272304,0.000001698248,0.00008465518,0.01040044,0.7267004,0.03167178],"study_design_scores_gemma":[0.0001186702,0.00005144526,0.0004180298,0.00007231401,0.0001470553,0.000003801851,0.03708954,6.702785e-7,0.000004467707,0.0008015215,0.9612356,0.00005685669],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2577909,0.4142932,0.001061437,0.05866199,0.005739991,0.0004347182,0.000004955556,0.00005951755,0.2619533],"genre_scores_gemma":[0.9501461,0.03183033,0.0007178822,0.001232208,0.002948686,0.000003155099,4.136691e-7,0.000006535758,0.01311464],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6923553,"threshold_uncertainty_score":0.2791254,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4232337713","doi":"10.1386/jicms.1.3.327_5","title":"Book Reviews","year":2013,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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; Art; Art history; Humanities; Media studies; Sociology","authors":[{"name":"Jacopo Benci","is_ca":false},{"name":"Luca Peretti","is_ca":false},{"name":"Julia Heim","is_ca":false},{"name":"Chiara Ferrari","is_ca":false},{"name":"Catherine O’Rawe","is_ca":false},{"name":"Marie Orton","is_ca":false},{"name":"John P. Welle","is_ca":false},{"name":"Flavia Laviosa","is_ca":false},{"name":"Brendan Hennessey","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03753162032421847,"gpt":0.322731206259859,"spread":0.2851995859356405,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009178548,0.0001066551,0.0004031971,0.00005044366,0.0002917615,0.00005083301,0.0001322622,0.00005692321,0.0003641905],"category_scores_gemma":[0.001113182,0.00007093661,0.0001467352,0.0001271586,0.0003765823,0.0004641299,0.00003287759,0.0001298779,0.00007714993],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003304597,"about_ca_system_score_gemma":0.00006503925,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004227327,"about_ca_topic_score_gemma":0.00007066205,"domain_scores_codex":[0.9988716,0.000123987,0.0003993181,0.00008489866,0.0002943012,0.0002258716],"domain_scores_gemma":[0.9988893,0.0002181393,0.0002787239,0.0000746214,0.0003368312,0.0002023513],"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":[0.00000252616,0.00001414907,0.001074473,0.00003756201,0.00006255127,0.000008665547,0.06241853,2.171252e-8,0.00003561913,0.0003904526,0.9295263,0.006429113],"study_design_scores_gemma":[0.0002477255,0.0000582432,0.0024984,0.0001582547,0.00005458324,0.00001225414,0.06011615,1.636761e-7,0.0000198205,0.0007769449,0.9359609,0.0000965059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.106724,0.8109721,0.00001151076,0.05869338,0.003357069,0.0005253508,0.000005074533,0.00002409668,0.01968744],"genre_scores_gemma":[0.1745264,0.7331942,0.00239532,0.01700047,0.006571856,0.00003341645,0.000001886829,0.00003421982,0.06624223],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.0777779,"threshold_uncertainty_score":0.3987631,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4313891357","doi":"10.1386/jicms_00153_2","title":"Editorial","year":2023,"lang":"en","type":"editorial","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Centennial; Movie theater; Scholarship; Sensibility; Spectacle; Art; Redress; Art history; Screenwriting; Short Film; History; Visual arts; Literature; Political science; Law","authors":[{"name":"Frank Burke","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02553894469137677,"gpt":0.3374243485271255,"spread":0.3118854038357487,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaresearch","metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002905328,0.0003136845,0.001011587,0.0001878238,0.0005662158,0.0001321885,0.0004106921,0.0008640589,0.00002245595],"category_scores_gemma":[0.02175168,0.000245457,0.0003671453,0.0003323285,0.0007584431,0.0002757879,0.0001299634,0.0009863188,0.00004162706],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001646294,"about_ca_system_score_gemma":0.001037884,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001356657,"about_ca_topic_score_gemma":0.000652314,"domain_scores_codex":[0.9960771,0.0002131089,0.0007264888,0.0002422299,0.00224233,0.0004987326],"domain_scores_gemma":[0.9922103,0.004599498,0.0007960594,0.0001504391,0.00189538,0.0003482923],"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":[0.00003631084,0.00001836203,0.00002842783,0.0001277314,0.0004158047,0.00005946944,0.05089741,8.242553e-8,0.000001809909,0.00008727916,0.9477054,0.0006218718],"study_design_scores_gemma":[0.0006164854,0.0001552949,0.00001753328,0.0004308571,0.0002846325,0.000001320003,0.05797893,3.478232e-8,0.000001459644,0.0007436225,0.9395316,0.000238287],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.0002780113,0.00931055,6.120304e-7,0.002072122,0.9867725,0.0001162639,0.0001343903,0.00003946858,0.001276096],"genre_scores_gemma":[0.00008539081,0.04213498,0.0000691754,0.00003226999,0.952104,0.00000457129,0.00001678881,0.00003953252,0.005513246],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.03466844,"threshold_uncertainty_score":0.9999998,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389094721","doi":"10.1386/jicms_00225_5","title":"Italian Neorealism: A Cultural History, Charles L. Leavitt IV (2020)","year":2023,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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":"Neorealism (international relations); Cultural history; Humanities; History; Art; Political science; Economic history; International relations; Law; Politics","authors":[{"name":"Piero Garofalo","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05188706946927605,"gpt":0.3241264018861634,"spread":0.2722393324168873,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001255058,0.0002230915,0.0005642415,0.0001400034,0.0005015655,0.00006659494,0.0002734057,0.0001310114,0.00009224895],"category_scores_gemma":[0.001213802,0.0001658913,0.0002699897,0.0004006399,0.0009081736,0.0004967166,0.00008497681,0.0002487004,0.00005217813],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002243996,"about_ca_system_score_gemma":0.0002214732,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002051895,"about_ca_topic_score_gemma":0.0005902559,"domain_scores_codex":[0.997928,0.0001577014,0.0005099457,0.0002059982,0.0007005261,0.0004978306],"domain_scores_gemma":[0.9983224,0.0003182644,0.0003660876,0.0001253083,0.0005175366,0.0003504169],"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":[0.00002374727,0.00002350169,0.002333945,0.00006191836,0.0002082564,0.0002295075,0.2442128,4.455895e-7,0.0001392501,0.001845113,0.7478958,0.003025667],"study_design_scores_gemma":[0.0007028251,0.0001525206,0.009903452,0.000186536,0.000152835,0.00005908839,0.3661713,0.000002238294,0.00002449893,0.001163267,0.6212078,0.0002736041],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.894993,0.04489998,0.00000243941,0.03956828,0.007913015,0.0002868916,0.00005880824,0.0001373054,0.01214028],"genre_scores_gemma":[0.9175567,0.05284235,0.0003314155,0.001174377,0.005123199,0.00001314575,0.00001833299,0.0000403363,0.02290014],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.126688,"threshold_uncertainty_score":0.6764849,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2550308730","doi":"10.1386/jicms.5.1.47_1","title":"Léolo’s fantasized Italy: Family romance and accented cinema in Quebec","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Canadian Identity and History","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":"Concordia University","funders":"","keywords":"Movie theater; Ambivalence; Colonialism; Romance; Context (archaeology); Indigenous; Nationalism; Gender studies; Sociology; Trope (literature); Anthropology; Aesthetics; History; Politics; Literature; Art; Political science; Art history; Psychoanalysis; Psychology; Law","authors":[{"name":"Kester Dyer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02532106517566441,"gpt":0.284670306860114,"spread":0.2593492416844496,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004841906,0.00009532057,0.0003762372,0.0004092984,0.0002492135,0.00006996769,0.0001033175,0.00005733483,0.00003809105],"category_scores_gemma":[0.001026796,0.0000721889,0.00005491506,0.00017822,0.0007746606,0.0004153936,0.0000342515,0.00009444236,0.000004033222],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002782907,"about_ca_system_score_gemma":0.0002924036,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.05980206,"about_ca_topic_score_gemma":0.8908689,"domain_scores_codex":[0.9989715,0.00007821844,0.0003382926,0.0001240124,0.0002625216,0.00022548],"domain_scores_gemma":[0.9991062,0.0002745453,0.000201238,0.00006043497,0.0001595151,0.0001980674],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000540112,0.0002304979,0.1015649,0.0002995084,0.0006779498,0.001452556,0.2411082,3.646309e-7,0.005665645,0.0112704,0.3158146,0.3213752],"study_design_scores_gemma":[0.003725274,0.0001590317,0.4407848,0.0009214755,0.0001078167,0.00003709493,0.08949618,3.210989e-7,0.00002710264,0.001500748,0.4629378,0.0003023644],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.953336,0.0315029,0.000004055882,0.01133225,0.0008462257,0.00009295824,0.00001093329,0.000008142868,0.002866521],"genre_scores_gemma":[0.9505346,0.04218556,0.00006973126,0.0002529825,0.0004626511,0.000003026527,2.504181e-7,0.000008025963,0.006483175],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8310668,"threshold_uncertainty_score":0.9464588,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4313816643","doi":"10.1386/jicms_00158_7","title":"Perspectives on Tonino Guerra: Interviews with Rebecca West, Federico Pacchioni, Giame Alonge and Goffredo Fofi","year":2023,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Poetry; Relation (database); Screenwriting; Art; Environmentalism; Art history; Sociology; Humanities; Literature; Politics; Political science; Law; Computer science","authors":[{"name":"Frank Burke","is_ca":true},{"name":"Amy Hough-Dugdale","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04089711908042219,"gpt":0.3214190584873331,"spread":0.2805219394069109,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009677699,0.0002040434,0.0005026715,0.0001407799,0.0006237555,0.0001140579,0.0001501656,0.00008040409,0.00003079059],"category_scores_gemma":[0.0005853763,0.000133945,0.0001206187,0.0003952693,0.0006955305,0.0003084572,0.00007281909,0.0002330373,0.00001335169],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007013891,"about_ca_system_score_gemma":0.0001055422,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008916857,"about_ca_topic_score_gemma":0.00111958,"domain_scores_codex":[0.9984722,0.000149854,0.0003340725,0.0002248658,0.0004768622,0.0003421874],"domain_scores_gemma":[0.9987085,0.0003830161,0.0002759372,0.0001115772,0.0002936704,0.0002273093],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001359469,0.00009030334,0.01443257,0.0001133842,0.0005497661,0.000252137,0.8404576,0.000001153054,0.00005418071,0.00375732,0.1313187,0.008836907],"study_design_scores_gemma":[0.0009384344,0.0008142717,0.04773506,0.0004702696,0.0001212905,0.00006219734,0.9161834,0.00000198614,0.00002138602,0.0005469332,0.03286141,0.00024337],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9458969,0.01856053,0.000004749054,0.02631306,0.0008921628,0.0002123155,0.00001690302,0.00004498359,0.00805843],"genre_scores_gemma":[0.9703979,0.02516824,0.0003220001,0.0003905665,0.0009258475,0.000006756141,0.000001644086,0.00001911526,0.002767929],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09845734,"threshold_uncertainty_score":0.5462118,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413453384","doi":"10.1386/jicms_00330_5","title":"Fellini/Trubbiani: E la nave va (1983–2023), Simone Dubrovic (ed.) (2023)","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Literature and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Art","authors":[{"name":"Giovanna Caterina Lisena","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01817322182276521,"gpt":0.2654464423203856,"spread":0.2472732204976204,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000354322,0.00029056,0.0006731783,0.0002243583,0.0003418498,0.0002478436,0.0001765075,0.0001069459,0.0003121489],"category_scores_gemma":[0.0003018315,0.0001918822,0.0002183205,0.0001203607,0.000390758,0.0003345457,0.00006280602,0.0004127808,0.00002971676],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000292742,"about_ca_system_score_gemma":0.00007077945,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009217987,"about_ca_topic_score_gemma":0.0002406081,"domain_scores_codex":[0.9984999,0.00007879526,0.0006306046,0.0002020337,0.0002995439,0.0002891621],"domain_scores_gemma":[0.9985363,0.0003130692,0.0002991713,0.0001498161,0.0005717785,0.0001298649],"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":[0.0001016484,0.0001116644,0.0004388626,0.0003186731,0.0009747257,0.0003111287,0.06099793,8.856711e-7,0.0001342234,0.05118233,0.8826529,0.002774967],"study_design_scores_gemma":[0.001032636,0.0002512142,0.000948361,0.0008157192,0.0003652388,0.00007474217,0.07852044,0.000001604253,0.00008394713,0.005219247,0.91244,0.0002468313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2985514,0.4191104,0.00001961583,0.02053502,0.01428822,0.0004889042,0.0002260455,0.00008852193,0.2466919],"genre_scores_gemma":[0.8485785,0.004868626,0.0001563315,0.002172149,0.00419637,0.000009570965,0.00001483765,0.00002887552,0.1399748],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5500271,"threshold_uncertainty_score":0.7824729,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4232568749","doi":"10.1386/jicms.4.2.307_5","title":"Film Reviews","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto; Wilfrid Laurier University","funders":"","keywords":"Movie theater; Art; Beauty; Portrait; Art history; Humanities; Aesthetics","authors":[{"name":"Paolo Finaldi Russo","is_ca":false},{"name":"Anthony Cristiano","is_ca":true},{"name":"Johnny L. Bertolio","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05270377275560723,"gpt":0.3389233498282702,"spread":0.2862195770726629,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001403502,0.0001004985,0.0003813321,0.00004958034,0.0002484914,0.00002126728,0.0001323154,0.0000547734,0.00009839911],"category_scores_gemma":[0.0023058,0.00005208361,0.0001496238,0.0001232284,0.0004379009,0.000267651,0.00003264538,0.00007350142,0.00003030375],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000404735,"about_ca_system_score_gemma":0.00007603702,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009247938,"about_ca_topic_score_gemma":0.000145559,"domain_scores_codex":[0.9988911,0.0001338764,0.0003746467,0.00008958827,0.0002940393,0.0002168034],"domain_scores_gemma":[0.9988163,0.0003933846,0.0002813949,0.00007727037,0.0002548326,0.0001768569],"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":[0.00002268028,0.00003366115,0.007429489,0.00006987048,0.0001685617,0.00004719444,0.1244099,2.012311e-8,0.0003193646,0.003306768,0.8100139,0.05417848],"study_design_scores_gemma":[0.0005388613,0.00008739134,0.003069389,0.0004765732,0.00007455251,0.00001851463,0.05044904,3.59698e-8,0.00007463395,0.00166698,0.9434212,0.000122841],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5171977,0.3007855,0.0001282708,0.1391019,0.009532928,0.0006055172,0.00004323349,0.00005400964,0.03255102],"genre_scores_gemma":[0.6792123,0.2895737,0.001273285,0.001548597,0.004182679,0.000007059051,5.07285e-7,0.00001864661,0.02418316],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1620147,"threshold_uncertainty_score":0.2760424,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3109403876","doi":"10.1386/jicms_00057_5","title":"Fellini’s Films and Commercials: From Postwar to Postmodern, Frank Burke (2020)","year":2020,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Postmodernism; Art; Art history; Psychoanalysis; Literature; Psychology","authors":[{"name":"Giovanna Caterina Lisena","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04604829571909159,"gpt":0.3197807785054301,"spread":0.2737324827863385,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005919937,0.0001841207,0.0005806862,0.00005282761,0.000411202,0.0000832441,0.0002009958,0.0001069179,0.00008536132],"category_scores_gemma":[0.001469849,0.0001464488,0.0001244432,0.0002609352,0.0003415747,0.0002406063,0.0001059989,0.0002249419,0.00001751757],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002017689,"about_ca_system_score_gemma":0.00009964855,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002216453,"about_ca_topic_score_gemma":0.000290911,"domain_scores_codex":[0.9984319,0.0001383976,0.0004560441,0.0002087942,0.0004738863,0.0002909823],"domain_scores_gemma":[0.9981423,0.0006110734,0.0002228698,0.00008378439,0.0003371689,0.0006028037],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000153823,0.00004294711,0.01895834,0.00006014898,0.000413,0.0001507367,0.5918187,0.000002091481,0.0003847942,0.0003219787,0.3820045,0.005688898],"study_design_scores_gemma":[0.002048961,0.0009362253,0.03681593,0.0003678541,0.000443741,0.00002446742,0.5194755,0.00001788632,0.0001595546,0.001730551,0.4373694,0.0006099576],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.873489,0.03343451,0.00003928176,0.09073247,0.001114275,0.0001935918,0.0001060148,0.00002239088,0.0008684436],"genre_scores_gemma":[0.9682766,0.01647877,0.002867117,0.009920568,0.002136654,0.000002757923,0.000004540565,0.00002061402,0.0002923867],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09478757,"threshold_uncertainty_score":0.5972009,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4235148011","doi":"10.1386/jicms.6.2.247_5","title":"Film Reviews","year":2018,"lang":"it","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Dream; Art; Humanities; China; Art history; Geography; Archaeology; Biology","authors":[{"name":"Stefania Benini","is_ca":false},{"name":"Laura Bianco","is_ca":false},{"name":"Gaoheng Zhang","is_ca":true},{"name":"Rafael Arreaza Scrocchi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05592629484015705,"gpt":0.3429031274256687,"spread":0.2869768325855117,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002758328,0.0003066642,0.001080812,0.0001117531,0.0007551473,0.00009705425,0.0003244869,0.0001806883,0.0003575562],"category_scores_gemma":[0.002665819,0.0002160213,0.0003993781,0.0004528613,0.001909795,0.0004248816,0.0001217845,0.0003276452,0.0001740842],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007774771,"about_ca_system_score_gemma":0.0002025592,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002817279,"about_ca_topic_score_gemma":0.0001915814,"domain_scores_codex":[0.997247,0.0003395335,0.001027931,0.0002356366,0.0006412519,0.0005086549],"domain_scores_gemma":[0.9970652,0.0004442477,0.0009562826,0.0001860533,0.0009407601,0.0004074321],"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":[0.0000393194,0.00006226388,0.002024517,0.0001863812,0.0003926131,0.00005353382,0.2728103,4.220994e-8,0.00005300665,0.0007765347,0.7147689,0.008832502],"study_design_scores_gemma":[0.0006994268,0.000571568,0.002547016,0.00111655,0.0004328555,0.00005665298,0.1770754,0.000001398591,0.00007262689,0.0008206896,0.8163298,0.0002759115],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.3012634,0.5579078,0.00003580435,0.06096574,0.03147587,0.0009648013,0.0001010356,0.00004049182,0.04724506],"genre_scores_gemma":[0.5214901,0.4202482,0.001334126,0.003253706,0.02121299,0.000006303874,0.000002664839,0.00004326067,0.03240869],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.2202267,"threshold_uncertainty_score":0.8809091,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4231797628","doi":"10.1386/jicms.5.3.403_5","title":"Book Reviews","year":2017,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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; Art; Humanities; Art history; Poetry; Literature","authors":[{"name":"Marguerite Waller","is_ca":false},{"name":"Luca Zamparini","is_ca":false},{"name":"Sergio Parussa","is_ca":false},{"name":"Lorenzo Fabbri","is_ca":false},{"name":"Luca Peretti","is_ca":false},{"name":"Maria Letizia Bellocchio","is_ca":false},{"name":"Jacopo Benci","is_ca":false},{"name":"Stefania Benini","is_ca":false},{"name":"David Moss","is_ca":false},{"name":"Jonathan Mullins","is_ca":false},{"name":"Cecilia Novero","is_ca":false},{"name":"Valentina Casini","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0633284727816696,"gpt":0.3692125911282954,"spread":0.3058841183466258,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00144527,0.0001026992,0.000421991,0.00003614058,0.001128034,0.0001068848,0.0002709554,0.00005752327,0.00007867],"category_scores_gemma":[0.002794091,0.00007041717,0.0001605298,0.00003670654,0.0006868107,0.0005021204,0.00006257306,0.0001318397,0.00001853146],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002927208,"about_ca_system_score_gemma":0.00007832417,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002707854,"about_ca_topic_score_gemma":0.0001968154,"domain_scores_codex":[0.9989812,0.00008904863,0.0003406126,0.00008888838,0.0002931707,0.0002070199],"domain_scores_gemma":[0.9987115,0.0001469435,0.0005571271,0.000161476,0.0002463702,0.0001765929],"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":[0.000009773998,0.0000169356,0.003813798,0.00005198551,0.0000963637,0.0000414794,0.07113313,1.53187e-8,0.00002266534,0.0009364503,0.9147802,0.009097176],"study_design_scores_gemma":[0.0003245207,0.00004998454,0.00591236,0.0002249607,0.00007438249,0.00001212361,0.02730155,8.238933e-8,0.00002214424,0.0005724087,0.9654133,0.0000922352],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.08221427,0.7869321,0.00001019756,0.08035087,0.006599247,0.0003643379,0.00001197089,0.00001967635,0.04349736],"genre_scores_gemma":[0.2409991,0.6964993,0.001109934,0.005592294,0.006567817,0.000007762593,8.905651e-7,0.00002258827,0.04920031],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.1587848,"threshold_uncertainty_score":0.867604,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390572469","doi":"10.1386/jicms_00245_5","title":"The Dream, Fabio Bucciarelli and Peter Bouckaert (2016)","year":2024,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Dream; Humanities; Art history; Art; Psychology","authors":[{"name":"Mehraneh Ebrahimi","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03847098913942214,"gpt":0.2887352308108251,"spread":0.2502642416714029,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002813805,0.0001292924,0.0002252836,0.00007416622,0.0004075456,0.0002802996,0.00006703166,0.00002759469,0.00003984528],"category_scores_gemma":[0.00009297428,0.0000594124,0.0001028526,0.00003469376,0.000458613,0.0001949145,0.00003484881,0.0001865362,0.000004335184],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006768219,"about_ca_system_score_gemma":0.00001931608,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000007197831,"about_ca_topic_score_gemma":0.0002102294,"domain_scores_codex":[0.999315,0.00002596872,0.0002548729,0.00009442352,0.0001573497,0.0001524154],"domain_scores_gemma":[0.9993469,0.0002813899,0.00007692661,0.0000533803,0.0001605274,0.0000809393],"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":[0.0001145851,0.00005977268,0.000665309,0.0004443808,0.001743092,0.0002481462,0.3218761,7.325807e-8,0.0005120417,0.09983978,0.5559255,0.01857118],"study_design_scores_gemma":[0.0002381612,0.0002792056,0.0009283586,0.0004255165,0.0001724116,0.000112465,0.05607094,0.000002065629,0.0001207546,0.004381451,0.9371489,0.0001197486],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6393896,0.3407752,0.000002354274,0.007135866,0.004272602,0.0001304635,0.00003442288,0.00003225866,0.008227269],"genre_scores_gemma":[0.9682218,0.02586013,0.00001264336,0.0002400245,0.001818855,0.000003377136,7.414959e-7,0.00001004329,0.003832344],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3812234,"threshold_uncertainty_score":0.3134553,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4313891141","doi":"10.1386/jicms_00171_5","title":"Romarcord: Flânerie, spectacle et mémoire dans la Rome de Federico Fellini, Marina Vargau (2021)","year":2023,"lang":"fr","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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":"Spectacle; Art; Humanities; Political science","authors":[{"name":"Rémi Fournier Lanzoni","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02921412630379816,"gpt":0.3200282616746203,"spread":0.2908141353708221,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002810848,0.0003655512,0.0008445963,0.000157392,0.0007741305,0.0001790224,0.0003396347,0.0002666613,0.0001731803],"category_scores_gemma":[0.001149922,0.0003157469,0.0003944995,0.00104545,0.001417883,0.0005369891,0.0002110436,0.0005458616,0.00009676434],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002675123,"about_ca_system_score_gemma":0.0005872708,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002845754,"about_ca_topic_score_gemma":0.0009833572,"domain_scores_codex":[0.9968135,0.0005753997,0.0007372606,0.0003057085,0.0007407947,0.0008273689],"domain_scores_gemma":[0.9972079,0.00123103,0.0005007422,0.000178363,0.0003489289,0.000532996],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00010318,0.0003129418,0.02902249,0.0005216469,0.001458247,0.00302978,0.5274809,0.00002339701,0.0003821217,0.0224866,0.3937778,0.02140097],"study_design_scores_gemma":[0.001330858,0.0006438389,0.09126648,0.0006914109,0.0004903573,0.0004376964,0.4985131,0.00003920998,0.00008044856,0.009693828,0.3962547,0.0005581073],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8431715,0.04315685,0.00006078445,0.06499311,0.008548786,0.0002549754,0.0001391366,0.00005882343,0.039616],"genre_scores_gemma":[0.8055801,0.1246396,0.001497619,0.0008359527,0.004321218,0.00001040253,0.00001219186,0.00006878241,0.06303419],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.08148272,"threshold_uncertainty_score":0.9999295,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413453374","doi":"10.1386/jicms_00331_5","title":"Ariosto in the Machine Age, Alessandro Giammei (2024)","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Renaissance and Early Modern Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Visual arts","authors":[{"name":"Alberto Luca Zuliani","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05997532592335643,"gpt":0.3021611055467784,"spread":0.242185779623422,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004363917,0.0001474478,0.0004402748,0.0001915657,0.0002525769,0.0000882552,0.0001455297,0.00002345256,0.0000421626],"category_scores_gemma":[0.0002383833,0.00007682268,0.00008761235,0.00007255919,0.0003927054,0.000153689,0.00005566066,0.000222748,0.000003332502],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001565508,"about_ca_system_score_gemma":0.00002395107,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006230934,"about_ca_topic_score_gemma":0.003888017,"domain_scores_codex":[0.999064,0.00004813789,0.0004016214,0.0001010361,0.0002039089,0.000181352],"domain_scores_gemma":[0.9992483,0.0003295095,0.0001419499,0.00009780323,0.0001532612,0.00002923183],"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":[0.0001533113,0.0001818574,0.01701233,0.0003300879,0.000981756,0.0006428984,0.3764291,0.00000421387,0.00002964788,0.03755356,0.5480549,0.01862631],"study_design_scores_gemma":[0.001818381,0.0002866741,0.03409645,0.0009113115,0.0002814491,0.00005705943,0.2581552,0.000004985335,0.00002291579,0.01365076,0.6904828,0.0002320566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5757158,0.2831084,0.00001627813,0.03518927,0.004660242,0.0002673342,0.00001837081,0.00001579256,0.1010085],"genre_scores_gemma":[0.9803023,0.01064299,0.00002522432,0.001050736,0.000579965,0.000007007394,7.646376e-7,0.000005736594,0.007385288],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4045864,"threshold_uncertainty_score":0.3132738,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413453332","doi":"10.1386/jicms_00339_5","title":"Dare: To Take That First Step, Silvia Tonelli (dir.) (2024), Italy: NoOx Worldwide","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Geography","authors":[{"name":"Rachel Grasso","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04377099641689314,"gpt":0.2793636643948499,"spread":0.2355926679779568,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003060832,0.00025045,0.0005756184,0.0003957621,0.0004312105,0.0002206361,0.0001726385,0.00003928162,0.0005287286],"category_scores_gemma":[0.0004121121,0.0001844145,0.000147726,0.0001230087,0.0002528066,0.0004222553,0.00006568607,0.0001891855,0.0000201121],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004545509,"about_ca_system_score_gemma":0.00006419373,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004472247,"about_ca_topic_score_gemma":0.002396668,"domain_scores_codex":[0.9985331,0.00004023823,0.0005885434,0.0002060635,0.0003394772,0.0002925595],"domain_scores_gemma":[0.9984351,0.0005342684,0.0001804189,0.0001582753,0.000514665,0.0001772404],"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":[0.0001809716,0.0001426128,0.004232677,0.0004475176,0.0008844646,0.0002324116,0.1808732,0.000008842391,0.00003396503,0.03188259,0.770939,0.01014178],"study_design_scores_gemma":[0.0008067031,0.000212767,0.00802775,0.0008149681,0.0002362533,0.00002573668,0.09840033,0.000005007323,0.00005878132,0.001811399,0.8893721,0.000228243],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5802652,0.2246673,0.0002410225,0.05471579,0.02391028,0.0008670585,0.0002417909,0.0001157152,0.1149759],"genre_scores_gemma":[0.8894824,0.00215926,0.0003528933,0.002642049,0.002001994,0.00001331786,0.000006552664,0.00002511969,0.1033164],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3092172,"threshold_uncertainty_score":0.7520204,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4406797709","doi":"10.1386/jicms_00302_5","title":"Italian Cinema in the Present Tense, Millicent Marcus (2023)","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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; Future tense; Art; History; Art history; Linguistics; Philosophy","authors":[{"name":"Giuseppe Fidotta","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02954875471168346,"gpt":0.3353829982712572,"spread":0.3058342435595738,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001960682,0.0001913333,0.0004794448,0.0001834146,0.000457726,0.00008027901,0.000359049,0.0001068216,0.00003971575],"category_scores_gemma":[0.001153013,0.0001178736,0.0001932919,0.0006365495,0.0005663498,0.0002103284,0.00008877322,0.00030986,0.00000724581],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009240766,"about_ca_system_score_gemma":0.0002122239,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002633324,"about_ca_topic_score_gemma":0.001699433,"domain_scores_codex":[0.9978555,0.0003070526,0.0005831182,0.0001827941,0.0006486885,0.0004227844],"domain_scores_gemma":[0.9983104,0.0007656964,0.0002450026,0.0001749184,0.0003666417,0.0001373655],"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":[0.00008541896,0.0002157583,0.03170493,0.0002076865,0.0004640832,0.0003041805,0.2460928,0.000003149347,0.00004226288,0.01001723,0.6989453,0.01191721],"study_design_scores_gemma":[0.001168765,0.000145771,0.07446895,0.0004601429,0.0001748074,0.00002728562,0.4466485,0.000002318581,0.00003336214,0.003038807,0.4736283,0.0002029547],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6676525,0.09829728,0.00002091431,0.1745014,0.005251385,0.0008316599,0.00003836717,0.0000272838,0.05337915],"genre_scores_gemma":[0.9715896,0.01745378,0.0002175753,0.002210212,0.001311259,0.00001568913,0.000002287703,0.0000110865,0.00718855],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.303937,"threshold_uncertainty_score":0.4806747,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3042394726","doi":"10.1386/jicms_00043_5","title":"Migration and the Media: Debating Chinese Migration to Italy, 1992–2012, Gaoheng Zhang (2019)","year":2020,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Migration, Ethnicity, and Economy","field":"Social Sciences","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":"Zhàng; Political science; Economic geography; China; Economic history; Geography; History; Law","authors":[{"name":"Mary Ann McDonald Carolan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03335980129309056,"gpt":0.3060016255692797,"spread":0.2726418242761892,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001143562,0.0001291863,0.0003674187,0.00007606199,0.0004790731,0.00008779008,0.0001002512,0.00005138859,0.00001835031],"category_scores_gemma":[0.004219805,0.00007797801,0.00007139362,0.0002209706,0.0002474269,0.0004976552,0.00004204431,0.0001314061,0.000003815197],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002631529,"about_ca_system_score_gemma":0.0000561605,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005821712,"about_ca_topic_score_gemma":0.05809046,"domain_scores_codex":[0.9987996,0.0001529003,0.0004432265,0.0001337768,0.0002937196,0.0001768405],"domain_scores_gemma":[0.9983876,0.000785233,0.0002986935,0.00005439303,0.0002517805,0.0002222606],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001106539,0.0000190704,0.05909428,0.00005473554,0.0001567989,0.000008309952,0.8996352,0.00001234729,0.0002719682,0.001034689,0.03508488,0.004517061],"study_design_scores_gemma":[0.004243935,0.0004887749,0.195162,0.0003787791,0.0004686624,0.00004659824,0.7413378,0.0004223078,0.0002264509,0.00592724,0.05065646,0.0006409619],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8935008,0.01153504,0.00009386716,0.09382759,0.0004612529,0.0001849864,0.000003907097,0.00001053957,0.0003819922],"genre_scores_gemma":[0.9883347,0.008114195,0.0003643835,0.001070994,0.001978715,0.00000647566,0.000002250878,0.000007062694,0.0001212673],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1582974,"threshold_uncertainty_score":0.9590969,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4313891129","doi":"10.1386/jicms_00162_7","title":"Testimonials","year":2023,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Computer science","authors":[{"name":"Frank Burke","is_ca":true},{"name":"Marita Gubareva","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2620519451174963,"gpt":0.3042426362844267,"spread":0.04219069116693036,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003091374,0.0001072243,0.0003778423,0.0001248416,0.0002387547,0.00008587365,0.00007621338,0.00001774632,0.0001901298],"category_scores_gemma":[0.001148651,0.00006304869,0.00007508532,0.00006264146,0.00042839,0.000128887,0.00009875597,0.0000820299,0.00007306898],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001360706,"about_ca_system_score_gemma":0.00001131616,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005233603,"about_ca_topic_score_gemma":0.00004824141,"domain_scores_codex":[0.9992328,0.00002135633,0.000290776,0.00007862412,0.0002077571,0.0001686591],"domain_scores_gemma":[0.998933,0.0004893658,0.0001655629,0.00004316952,0.0002997709,0.00006911743],"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":[0.00004404652,0.00007218302,0.00786547,0.0001104191,0.0007972952,0.0005355774,0.1175534,0.000002584337,0.0000855405,0.05538615,0.8051429,0.01240445],"study_design_scores_gemma":[0.0007303515,0.0004751853,0.01842886,0.0001636347,0.0001729362,0.00002588041,0.134553,0.000001749511,0.00002353412,0.008698316,0.8365539,0.000172661],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9538792,0.007634743,3.932203e-7,0.009562447,0.003137173,0.00008769907,0.0000179905,0.0000577481,0.02562254],"genre_scores_gemma":[0.9883762,0.0021881,0.00007133336,0.0004970827,0.001933843,0.000004441028,7.521585e-7,0.000009193995,0.006919056],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04668784,"threshold_uncertainty_score":0.2571051,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413453318","doi":"10.1386/jicms_00329_5","title":"Queering Italian Media, Sole Anatrone and Julia Heim (eds) (2020)","year":2025,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Art; Art history","authors":[{"name":"Paolo Frascà","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01642908454356473,"gpt":0.3080000696353032,"spread":0.2915709850917385,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001139137,0.0002105622,0.0005777235,0.0001449049,0.0005780038,0.0001018185,0.0001984305,0.000131772,0.00002874279],"category_scores_gemma":[0.00132383,0.000171227,0.0001447798,0.0003619432,0.0007144419,0.0003766245,0.0001178404,0.0002655284,0.000004378507],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006967974,"about_ca_system_score_gemma":0.0002016253,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001357135,"about_ca_topic_score_gemma":0.001140138,"domain_scores_codex":[0.9982924,0.0001166539,0.00050951,0.0002115892,0.0004616749,0.0004081246],"domain_scores_gemma":[0.9984882,0.00050879,0.0002453731,0.0001183646,0.0003544933,0.0002848094],"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":[0.0001318093,0.0001566824,0.04168976,0.0005725153,0.001692359,0.0003973929,0.3798114,0.000003202836,0.0005071232,0.01196311,0.5126371,0.05043757],"study_design_scores_gemma":[0.002724368,0.0003040854,0.04281164,0.001152016,0.000676405,0.00007512452,0.5535927,0.000008835702,0.000314085,0.009147032,0.3885175,0.0006761559],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7896861,0.1564212,0.00004374313,0.03674632,0.005520776,0.0002930154,0.00003739954,0.00005332212,0.01119812],"genre_scores_gemma":[0.9548801,0.03826435,0.0008438875,0.000764452,0.001356082,0.000004925343,0.000002336121,0.00001573296,0.003868185],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1737814,"threshold_uncertainty_score":0.6982436,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4313891573","doi":"10.1386/jicms_00152_2","title":"To Marguerite ‘Margie’ Waller (1948–2020)","year":2023,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Posthumanist Ethics and Activism","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":"Queen's University","funders":"","keywords":"Computer graphics (images); Computer science; Visual arts; Art","authors":[{"name":"Frank Burke","is_ca":true},{"name":"Amy Hough-Dugdale","is_ca":false},{"name":"Marita Gubareva","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07616664563895739,"gpt":0.3824642109319731,"spread":0.3062975652930158,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001267773,0.00009640481,0.000292116,0.0001406683,0.0003808274,0.00005340677,0.0001396223,0.00005285213,0.00003897142],"category_scores_gemma":[0.001411793,0.00007132679,0.00007611089,0.0003209436,0.0002011285,0.000151216,0.00008165485,0.0001731668,0.00003936124],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003723245,"about_ca_system_score_gemma":0.00008530314,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000405018,"about_ca_topic_score_gemma":0.000578991,"domain_scores_codex":[0.9988572,0.00006875434,0.0002605393,0.0001063762,0.0004455258,0.0002615802],"domain_scores_gemma":[0.9988973,0.0004000308,0.0001359352,0.00006381277,0.0002841881,0.0002187313],"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":[0.0001009369,0.00008750508,0.006120407,0.0001022904,0.0005905909,0.0009202221,0.4348441,0.00000544795,0.00156948,0.01815088,0.5110766,0.02643149],"study_design_scores_gemma":[0.000679169,0.000292941,0.05718112,0.0003217701,0.00008173333,0.00002963293,0.1592792,0.000002356741,0.000094279,0.01543547,0.7663211,0.0002812523],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8945906,0.002915659,0.000005537514,0.08960298,0.002320627,0.0001254611,0.000008379069,0.00003434932,0.01039642],"genre_scores_gemma":[0.9829345,0.00979581,0.0001516051,0.0006951395,0.001287107,0.000003313578,5.471459e-7,0.00001046841,0.00512153],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2755649,"threshold_uncertainty_score":0.2929055,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4254966380","doi":"10.1386/jicms.3.3.423_5","title":"Book Reviews","year":2015,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","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; Art; Art history; Humanities; Media studies; State (computer science); Sociology","authors":[{"name":"Millicent Marcus","is_ca":false},{"name":"Peter Bondanella","is_ca":false},{"name":"Fulvio Orsitto","is_ca":false},{"name":"Pedro Moura","is_ca":false},{"name":"Shane Brown","is_ca":false},{"name":"MaoHui Deng","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08465106253511001,"gpt":0.358204622134185,"spread":0.273553559599075,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001938251,0.000101306,0.0004093335,0.00005057025,0.0001972082,0.00003298714,0.0001291672,0.00005553057,0.00004251059],"category_scores_gemma":[0.002191281,0.00006903082,0.0001243761,0.000141273,0.0003650949,0.0003241577,0.0000353353,0.0001236341,0.0000252606],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000530075,"about_ca_system_score_gemma":0.0001554736,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001727706,"about_ca_topic_score_gemma":0.00009936497,"domain_scores_codex":[0.9988059,0.0001521563,0.0003748068,0.00008186413,0.000381619,0.0002036109],"domain_scores_gemma":[0.9987797,0.000159625,0.0002754842,0.00007236732,0.0004011391,0.0003117065],"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":[0.000009648285,0.00001446767,0.00102304,0.00002400043,0.00005389575,0.00002410171,0.1162886,6.092753e-8,0.000006099671,0.0004865332,0.8793449,0.002724655],"study_design_scores_gemma":[0.0003705006,0.00007958179,0.0003524339,0.0001223898,0.00006057539,0.00001742896,0.09182798,1.159708e-7,0.00001215885,0.000653398,0.9064224,0.00008105943],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.03990793,0.9006715,0.00001338185,0.03407339,0.004046831,0.0002424651,0.000006071835,0.00001951946,0.02101891],"genre_scores_gemma":[0.1749509,0.7118771,0.003737109,0.01896835,0.0126723,0.00001685744,0.000003450037,0.00004916454,0.07772477],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.1887944,"threshold_uncertainty_score":0.2814995,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}