{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":24,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":24,"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":"2dd5a372c56f","filters":{"venue":"Quarterly Review of Film and Video"}},"results":[{"id":"W2052344187","doi":"10.1080/10509200590461837","title":"Memories, Dreams, Screens","year":2005,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Film studies; Criticism; Art; Art history; The arts; Visual arts; Movie theater; Media studies; Sociology; Literature","authors":[{"name":"Ruth Perlmutter","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02238079200879276,"gpt":0.2425377004909744,"spread":0.2201569084821816,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003342117,0.0001135092,0.0005455398,0.00005801307,0.00004596219,0.00001030874,0.00008799714,0.00003493558,0.0004600809],"category_scores_gemma":[0.00005443525,0.0001068103,0.00009707095,0.0001142298,0.00006212517,0.0001229876,0.00001372341,0.00006127177,0.0002062617],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001108742,"about_ca_system_score_gemma":0.000008901816,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006143546,"about_ca_topic_score_gemma":0.00005618051,"domain_scores_codex":[0.9990405,0.000008460637,0.0005504022,0.0002087052,0.00002973461,0.0001621385],"domain_scores_gemma":[0.9994239,0.00004011572,0.0002123665,0.0002230556,0.00003088827,0.00006963709],"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":[0.00001367299,0.0001595823,0.01412645,0.008060828,0.0001597567,0.000004239074,0.002290275,2.425153e-7,0.00002095599,0.1004411,0.2421826,0.6325403],"study_design_scores_gemma":[0.0003223434,0.0002182463,0.005812003,0.001034354,0.00002039963,0.000006771655,0.0001226657,0.00002940656,0.00001481279,0.001345621,0.9909104,0.0001629875],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.01524052,0.9278314,0.0002136895,0.006935697,0.0002733215,0.0003375063,0.0001455646,0.00002908923,0.04899329],"genre_scores_gemma":[0.4069279,0.5786754,0.002490856,0.004871675,0.0007261005,0.00007154261,0.00004562252,0.0000338495,0.006157031],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.7487278,"threshold_uncertainty_score":0.5037563,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1976266764","doi":"10.1080/10509208.2013.780935","title":"One on Top of the Other: Lucio Fulci, Transnational Film Industries, and the Retrospective Construction of the Italian Horror Canon","year":2014,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":20,"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; Canon; Media studies; Visual arts; Literature; Sociology","authors":[{"name":"David Church","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01110588344221345,"gpt":0.2482219575135616,"spread":0.2371160740713481,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001182668,0.00008976005,0.0002895482,0.00001306514,0.000257892,0.00001540133,0.0002110909,0.00008778419,0.00007363365],"category_scores_gemma":[0.0001590017,0.00004773097,0.0001353042,0.0002657973,0.001381091,0.00008064121,0.00001005853,0.0001409937,4.336452e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001994466,"about_ca_system_score_gemma":0.000124064,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006682292,"about_ca_topic_score_gemma":0.0004666339,"domain_scores_codex":[0.9985918,0.0004901288,0.000304353,0.0001348029,0.0003677102,0.0001112173],"domain_scores_gemma":[0.9990544,0.0002354684,0.00031018,0.0002283053,0.000138993,0.00003268867],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","study_design_scores_codex":[0.00005050265,0.00006504123,0.0242778,0.001104154,0.00008480714,4.451082e-8,0.03758113,2.672283e-7,0.00008668292,0.8580779,0.004718355,0.07395331],"study_design_scores_gemma":[0.004967622,0.001792457,0.6735022,0.009700793,0.0008583862,0.00001122486,0.03590221,0.00005320533,0.001711475,0.04638289,0.2243641,0.0007533859],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9048435,0.01324704,0.00004793884,0.05497269,0.0008828419,0.002137069,0.0004527969,0.00001843877,0.02339767],"genre_scores_gemma":[0.9980843,0.0008340006,0.00002989803,0.0006148301,0.00007043137,0.00001056689,0.00000171841,0.000004602792,0.0003496563],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.811695,"threshold_uncertainty_score":0.5088686,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1699132268","doi":"10.1080/10509200600701560","title":"European Cinema Face to Face with Hollywood","year":2008,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"European history and politics","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Hollywood; Movie theater; Face (sociological concept); Art; Art history; Visual arts; Sociology; Social science","authors":[{"name":"Murray Pomerance","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02843158474093249,"gpt":0.2857645315844314,"spread":0.2573329468434989,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005333028,0.000107484,0.0002456409,0.00003098758,0.000257848,0.00001168929,0.0001850865,0.0000180917,0.0001278389],"category_scores_gemma":[0.00005132381,0.00008545128,0.00004950934,0.0001777286,0.0002080815,0.000108452,0.00001021846,0.00007493754,0.0001981007],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001245736,"about_ca_system_score_gemma":0.00006119392,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00009191836,"about_ca_topic_score_gemma":0.00006480444,"domain_scores_codex":[0.9988,0.0003778459,0.0002339381,0.000180529,0.0002036401,0.0002040513],"domain_scores_gemma":[0.9993577,0.00005413796,0.00009406536,0.000217621,0.00007366426,0.0002028235],"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":[0.00008401417,0.000351678,0.005876807,0.008977379,0.0001198182,0.0003286716,0.3457628,0.000004868109,0.0002946713,0.0389235,0.4060311,0.1932447],"study_design_scores_gemma":[0.0001540155,0.0006473066,0.00323103,0.001667822,0.00002641646,0.00001550533,0.001429129,4.153622e-7,0.000006877933,0.0000114946,0.9926512,0.0001588491],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2477401,0.06327253,0.0005938736,0.003789739,0.0002803149,0.001030328,0.00004917933,0.000130456,0.6831135],"genre_scores_gemma":[0.9542598,0.02189855,0.0006577026,0.004370633,0.0002585291,0.000006781069,0.000005628132,0.00002883337,0.01851359],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7065196,"threshold_uncertainty_score":0.3484602,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2035084680","doi":"10.1080/10509200802530148","title":"Assimilating Hong Kong Style for the Hollywood Action Woman","year":2010,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Hong Kong and Taiwan Politics","field":"Social Sciences","cited_by":7,"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":"Hollywood; Movie theater; Art; Spectacle; Art history; Style (visual arts); Narrative; Visual arts; Pleasure; History; Literature; Psychology; Law","authors":[{"name":"Lisa Funnell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03358622092055786,"gpt":0.3513952940919084,"spread":0.3178090731713505,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001069255,0.00007951712,0.000183977,0.00002025145,0.0004632118,0.00005603446,0.0001423089,0.00006096313,0.00007555321],"category_scores_gemma":[0.0002623167,0.00005520106,0.00009471651,0.0001053654,0.0001724348,0.000147332,0.000006234779,0.0001385146,0.000005530721],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007880993,"about_ca_system_score_gemma":0.00007071003,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002848856,"about_ca_topic_score_gemma":0.0008383744,"domain_scores_codex":[0.9991753,0.00008511727,0.0002317228,0.0001280921,0.0001661974,0.0002135401],"domain_scores_gemma":[0.9990836,0.0004135325,0.0001485637,0.000182428,0.00009436508,0.00007745715],"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":[0.000007463155,0.00005582735,0.00243206,0.00295966,0.00005163629,9.154966e-7,0.0117579,2.059444e-7,0.0006375319,0.04188405,0.01646294,0.9237498],"study_design_scores_gemma":[0.0006669992,0.0005440917,0.0133751,0.003240464,0.0002827742,0.000006560739,0.01549053,0.0004224711,0.0002039907,0.003970439,0.9613626,0.0004339555],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8304709,0.04970922,0.002514694,0.03617316,0.004466162,0.004440873,0.0001722279,0.000307293,0.07174547],"genre_scores_gemma":[0.9943988,0.003239011,0.000488524,0.0005677278,0.000481437,0.00002443289,0.000003812561,0.000009625183,0.000786634],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9448997,"threshold_uncertainty_score":0.3562697,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1992434214","doi":"10.1080/10509200802350364","title":"Politicizing Lynch/Lynching Politics: Reification in<i>Blue Velvet</i>and<i>Wild at Heart</i>","year":2010,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Race, History, and American Society","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Western University","funders":"","keywords":"Modernism (music); Reification (Marxism); Politics; Movie theater; Subjectivity; Art history; Art; Velvet; Performance art; Sociology; Media studies; Gender studies; Aesthetics; Political science; Law; Philosophy; Epistemology","authors":[{"name":"Kiel Hume","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01138228312527931,"gpt":0.2941971002198837,"spread":0.2828148170946043,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001146525,0.0001348557,0.0003899658,0.00005017968,0.0004450861,0.0000335914,0.0001402409,0.00009249579,0.00008250391],"category_scores_gemma":[0.0001560888,0.000131148,0.0001034396,0.0001860979,0.0006479166,0.000226019,0.00001643923,0.0002272857,0.000018053],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006856109,"about_ca_system_score_gemma":0.0001181166,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002954176,"about_ca_topic_score_gemma":0.0007244767,"domain_scores_codex":[0.9984965,0.0002113404,0.0004201459,0.000283745,0.0002375172,0.0003507728],"domain_scores_gemma":[0.9990789,0.0002109155,0.0001951737,0.0002474277,0.00007388602,0.0001937152],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002702588,0.0004574666,0.0686071,0.01408165,0.00009799208,0.00001343262,0.3058204,4.512731e-7,0.02590317,0.2341399,0.07677199,0.2740794],"study_design_scores_gemma":[0.0003042668,0.0001728172,0.01229124,0.002246815,0.00005250346,0.00001108813,0.009193617,0.00002081524,0.00005590726,0.001103923,0.9742161,0.0003308985],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9000348,0.06722402,0.00004809832,0.007137746,0.0005604658,0.0006841989,0.00002708075,0.00007270362,0.0242109],"genre_scores_gemma":[0.9733428,0.0211088,0.0009543498,0.003300231,0.0003637765,0.00002747779,0.00000786164,0.00001725679,0.0008774516],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8974441,"threshold_uncertainty_score":0.5348059,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2068462279","doi":"10.1080/10509200590450253","title":"The Dramaturgy of Action and Involvement in Sports Film","year":2006,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Sports, Gender, and Society","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Dramaturgy; Nothing; Action (physics); Art; Aesthetics; Visual arts; Philosophy; Epistemology; Physics","authors":[{"name":"Murray Pomerance","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02025647342588054,"gpt":0.2994514323000422,"spread":0.2791949588741617,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001071132,0.00006893688,0.0002159284,0.0000180371,0.0001365403,0.00001697529,0.00006499157,0.00005188115,0.0000468732],"category_scores_gemma":[0.00001439935,0.00004939101,0.0000628892,0.0001390765,0.0002016571,0.00009680697,0.000006125412,0.00005647958,3.391303e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001655954,"about_ca_system_score_gemma":0.00005920113,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003465051,"about_ca_topic_score_gemma":0.00306162,"domain_scores_codex":[0.9990901,0.00007859468,0.0003450283,0.0001223019,0.0002254927,0.0001384421],"domain_scores_gemma":[0.999543,0.00006852853,0.0001864638,0.0001180923,0.00004908138,0.00003480809],"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":[0.00003198894,0.0002670775,0.1050251,0.007034716,0.0000403544,0.000007900677,0.09087957,0.000001190128,0.0002266294,0.04480097,0.0413481,0.7103364],"study_design_scores_gemma":[0.0006581144,0.0003352007,0.2601988,0.004172027,0.00008528436,0.000003295611,0.1175368,0.00003723879,0.00006539207,0.007226119,0.609354,0.0003277183],"study_design_candidate":"design_other","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.848731,0.1392662,0.00001643093,0.001305707,0.0002672055,0.0005752065,0.00000601474,0.00001533662,0.009816961],"genre_scores_gemma":[0.8557856,0.1430209,0.00004892106,0.0002143373,0.00007680463,0.00001354834,0.000005355405,0.000004064447,0.0008304759],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7100086,"threshold_uncertainty_score":0.5238143,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2014291522","doi":"10.1080/10509200500536363","title":"“Taking Care of Her Green Stone Wall”: The Experience of Space in<i>Once Were Warriors</i>","year":2007,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Toronto","funders":"","keywords":"Creatures; Movie theater; Hybridity; Art; Postcolonialism (international relations); Representation (politics); Space (punctuation); Art history; Visual arts; Film director; Sociology; Literature; Gender studies; History; Computer science; Political science; Politics; Archaeology","authors":[{"name":"Corinn Columpar","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02239122178675796,"gpt":0.2671163071869575,"spread":0.2447250854001995,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000531153,0.0001119624,0.0006303215,0.00007284465,0.00003084528,0.000003375865,0.000156061,0.0000388246,0.00006973345],"category_scores_gemma":[0.00006200754,0.00008801891,0.0001019669,0.0002083204,0.0001407693,0.0000881837,0.00002271013,0.00008009151,0.000003743475],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001418234,"about_ca_system_score_gemma":0.00001092736,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001526009,"about_ca_topic_score_gemma":0.0006520263,"domain_scores_codex":[0.998807,0.0000142984,0.0007693972,0.0001891102,0.00005156876,0.0001686859],"domain_scores_gemma":[0.9989212,0.0001080149,0.0006129511,0.0002679675,0.00005531921,0.00003455503],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00006929776,0.000171836,0.4509522,0.02607469,0.0001160767,0.00001312803,0.1958516,0.000001376161,0.0007086507,0.02385332,0.001177866,0.3010099],"study_design_scores_gemma":[0.002459378,0.001823183,0.6923956,0.02313222,0.0001059763,0.00002184978,0.07331094,0.00006999812,0.001856536,0.001751214,0.2021234,0.0009497505],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5778616,0.4168784,0.00008583817,0.0005688139,0.0001207625,0.0002733555,0.0000257725,0.000003800913,0.004181637],"genre_scores_gemma":[0.9665567,0.03292822,0.000139017,0.0001931961,0.00002507821,0.00001177926,0.000001712775,0.000007286543,0.0001370164],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3886951,"threshold_uncertainty_score":0.3589307,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2015458812","doi":"10.1080/10509200690902313","title":"Film Noir and the Spaces of Modernity","year":2008,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"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":"Modernity; Art; Art history; Aesthetics; Visual arts; Philosophy; Epistemology","authors":[{"name":"Philippa Gates","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0284339572159868,"gpt":0.2322399361391424,"spread":0.2038059789231556,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003682526,0.00009005614,0.0006143797,0.00003713231,0.00006478211,0.000004929926,0.00007129991,0.00002629461,0.00006398459],"category_scores_gemma":[0.00008201905,0.00006247522,0.00008862244,0.00007176329,0.0002948007,0.00006802807,0.00001727251,0.00005507211,0.000009987484],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000002814959,"about_ca_system_score_gemma":0.000007521374,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001908307,"about_ca_topic_score_gemma":0.00001944734,"domain_scores_codex":[0.9992707,0.00001858674,0.0004406272,0.0001450825,0.00002837976,0.00009659656],"domain_scores_gemma":[0.9993541,0.0001250937,0.0002756311,0.0001808757,0.00003014493,0.00003416953],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0003621467,0.0005570651,0.285561,0.05553536,0.0009720512,0.00002090543,0.0571191,0.000003312698,0.0000995239,0.2854373,0.1421303,0.1722019],"study_design_scores_gemma":[0.01234065,0.002537203,0.3762154,0.01021724,0.0003859863,0.0002129848,0.004658221,0.002632807,0.0001964402,0.0525821,0.5364937,0.001527197],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.4003089,0.5894051,0.0001118534,0.002161343,0.0001039862,0.0002917506,0.00008098728,0.000006208642,0.007529832],"genre_scores_gemma":[0.7172974,0.2818485,0.00009636019,0.0002795981,0.00003042405,0.0000159442,0.00000209637,0.00000446828,0.0004251712],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3943635,"threshold_uncertainty_score":0.2547666,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2313517230","doi":"10.1080/10509208.2011.563217","title":"Visual Reconfigurations of Casablanca in Nour-Eddine Lakhmari's<i>Casanegra</i>","year":2013,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"African history and culture studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Optometry; Art history; Medicine","authors":[{"name":"Mohammed Hirchi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0130810062455355,"gpt":0.2921144204095715,"spread":0.279033414164036,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003746152,0.00008456503,0.0003563411,0.00003575224,0.0001214065,0.000008548585,0.00008837474,0.00004404453,0.0007227275],"category_scores_gemma":[0.00009396011,0.00006711236,0.00006547634,0.0002288924,0.0002527284,0.0001818289,0.000005370448,0.00006883535,0.00002302053],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001655604,"about_ca_system_score_gemma":0.0000573918,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001554176,"about_ca_topic_score_gemma":0.002872015,"domain_scores_codex":[0.9990585,0.0001549631,0.0003787553,0.0001288633,0.0001386379,0.0001402247],"domain_scores_gemma":[0.9994446,0.00009160647,0.0001779632,0.00009366377,0.0001376484,0.0000544965],"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":[0.00003510349,0.0007291861,0.01428014,0.01124269,0.0001630579,0.00001124316,0.2011464,4.507142e-7,0.001787601,0.05357512,0.2656476,0.4513814],"study_design_scores_gemma":[0.0007221734,0.001512908,0.01889928,0.00784544,0.0001371971,0.000006167089,0.04293798,0.00001446105,0.00004989981,0.002527733,0.9247896,0.0005571615],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2262151,0.2447107,0.00006200038,0.009167699,0.0005964826,0.002943939,0.00007791392,0.00007537582,0.5161508],"genre_scores_gemma":[0.9747738,0.02306482,0.0001427195,0.0003801181,0.0000877944,0.00007587852,0.000007110576,0.000005339374,0.001462407],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7485587,"threshold_uncertainty_score":0.7913359,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4320724914","doi":"10.1080/10509208.2023.2172978","title":"Something to (Not) See: Reading Whiteness through Voyeurism in the Desktop Horror","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Voyeurism; Art; Reading (process); Visual arts; Aesthetics; Art history; Psychology; Psychoanalysis; Philosophy; Linguistics","authors":[{"name":"Julia Chan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05065300996577712,"gpt":0.2925383642481277,"spread":0.2418853542823506,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001543074,0.0001317182,0.0005824241,0.0001446396,0.00007579796,0.00002852821,0.0001918594,0.0000433264,0.00003876261],"category_scores_gemma":[0.0002207862,0.000103975,0.00009627792,0.0006907929,0.00003524491,0.0001624775,0.00003023453,0.0001184071,0.0002030299],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000014805,"about_ca_system_score_gemma":0.000009836314,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002027993,"about_ca_topic_score_gemma":0.00005193946,"domain_scores_codex":[0.9987423,0.00003999884,0.0006308361,0.0002841297,0.00005359957,0.0002491223],"domain_scores_gemma":[0.9992477,0.0002240888,0.0001766484,0.0002866836,0.0000252527,0.00003967802],"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":[0.00005655953,0.0002212454,0.06857778,0.02824703,0.0002056588,0.00009549475,0.1146225,0.000008269549,0.0002629336,0.1551984,0.2025017,0.4300024],"study_design_scores_gemma":[0.001220139,0.001106122,0.1712865,0.01030164,0.00007280111,0.00002647069,0.0073741,0.0001784851,0.00006122402,0.0332392,0.7742627,0.0008705791],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6865782,0.2594219,0.0008054354,0.03251408,0.001295049,0.001881437,0.0001640764,0.00009824949,0.01724163],"genre_scores_gemma":[0.8802121,0.1085333,0.0008683152,0.008231998,0.0002666648,0.0002990716,0.00002480542,0.00003724186,0.001526501],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.571761,"threshold_uncertainty_score":0.4239976,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2298455321","doi":"10.1080/10509208.2015.1135673","title":"Fourth Formation Cinema and Aboriginal Australian/Aboriginal Canadian Sovereignty","year":2016,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"Government of Canada; Australian Government; Government of the United Kingdom","keywords":"Movie theater; Mainstream; Resistance (ecology); Colonialism; Ideology; Politics; Sovereignty; Media studies; Art; Art history; History; Gender studies; Sociology; Political science; Archaeology; Law","authors":[{"name":"D. Bruno Starrs","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0176734557518708,"gpt":0.2561098875114047,"spread":0.2384364317595339,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002964689,0.0001328446,0.0004395576,0.0001180725,0.0000665119,0.00001750197,0.00006671403,0.00004418342,0.0004513416],"category_scores_gemma":[0.00002246947,0.0001012032,0.00005909599,0.00009892182,0.00006767813,0.0002975596,0.000003391759,0.00004753526,0.00007330051],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000339642,"about_ca_system_score_gemma":0.00004353273,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004181087,"about_ca_topic_score_gemma":0.004078425,"domain_scores_codex":[0.9990484,0.00001076008,0.000468624,0.0002073304,0.00003360063,0.0002313195],"domain_scores_gemma":[0.99937,0.00003833575,0.0002136911,0.0001580661,0.0000443502,0.0001756021],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002905112,0.00004950302,0.04961608,0.009101142,0.0001215349,0.00001644113,0.001558927,5.545057e-8,0.00005793575,0.5668668,0.09248471,0.2800978],"study_design_scores_gemma":[0.000770813,0.0003791396,0.02269628,0.002290955,0.00003146078,0.00002886821,0.000112334,0.00001376651,0.0000174537,0.01066691,0.9627518,0.0002402239],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.3738864,0.4844051,0.001723635,0.04781169,0.00166623,0.002089081,0.002360453,0.00008139709,0.08597599],"genre_scores_gemma":[0.7971672,0.1991152,0.0005976927,0.0008285046,0.0001995502,0.00004307384,0.00001743398,0.00001508749,0.002016278],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8702671,"threshold_uncertainty_score":0.632058,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3136988263","doi":"10.1080/10509208.2021.1888606","title":"Life, Death, or Something in between: Photographic Taxidermy in “Get out” (2017)","year":2021,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Dilemma; Art; Aesthetics; Art history; Visual arts; Philosophy; Epistemology","authors":[{"name":"Sarah Choi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06192149943344642,"gpt":0.2852674307476238,"spread":0.2233459313141773,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008199717,0.0001611087,0.001046703,0.0002728272,0.00003348704,0.00002094677,0.0001091391,0.00007824741,0.000183279],"category_scores_gemma":[0.0005236109,0.0001520646,0.0001292743,0.0004602252,0.00004480929,0.0001552559,0.00002809723,0.0001826059,0.00003622506],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000165666,"about_ca_system_score_gemma":0.00005511315,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00022654,"about_ca_topic_score_gemma":0.0007794308,"domain_scores_codex":[0.9982858,0.00004470998,0.00100096,0.0003672996,0.00004312509,0.0002581157],"domain_scores_gemma":[0.9991078,0.0002017614,0.0002753704,0.0002700078,0.00003480733,0.0001101998],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00001982098,0.0001930065,0.9069983,0.01285658,0.0001266842,0.0001210785,0.005509,3.299043e-7,0.00002617981,0.006365899,0.006665546,0.06111753],"study_design_scores_gemma":[0.00403998,0.0008712138,0.6207082,0.01897514,0.0001001816,0.00003430339,0.002762648,0.00007986682,0.00007584121,0.01621803,0.3349585,0.001176104],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.3468199,0.6441664,0.000114701,0.003028907,0.0003641537,0.0004507943,0.000109721,0.00001551525,0.004929842],"genre_scores_gemma":[0.7040306,0.2929034,0.0005565062,0.001786229,0.0001144578,0.00008399878,0.00002528965,0.00001955083,0.0004799766],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3572106,"threshold_uncertainty_score":0.6201015,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1998485176","doi":"10.1080/10509200109361542","title":"Music hall mimesis in<i>Those Were the Days</i>(1934),<i>Champagne Charlie</i>(1944), and<i>The Entertainer</i>(1960)","year":2001,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Art; Entertainment; Art history; Visual arts; Performance art","authors":[{"name":"Paul Matthew St. Pierre","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02009716289270893,"gpt":0.2245438186187197,"spread":0.2044466557260108,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009485273,0.0003235948,0.0007008919,0.00005206775,0.0004403272,0.0001068999,0.0003368185,0.00006970399,0.004621205],"category_scores_gemma":[0.00003457054,0.0001698985,0.0002240543,0.00009118153,0.0007806153,0.0002596916,0.00003564727,0.0002962385,0.00005544418],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001442038,"about_ca_system_score_gemma":0.00002842813,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005604666,"about_ca_topic_score_gemma":0.003164351,"domain_scores_codex":[0.998041,0.0003442436,0.0006809533,0.000361931,0.0002463191,0.0003255614],"domain_scores_gemma":[0.9988014,0.000201476,0.0002777174,0.0005267528,0.00009621668,0.00009651231],"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":[0.0002709879,0.0003081592,0.000256716,0.006473382,0.0001589443,0.00005051891,0.2567802,3.006699e-7,0.0001045411,0.1096437,0.4356825,0.19027],"study_design_scores_gemma":[0.00113643,0.0002196044,0.0001869978,0.003019518,0.0001454054,0.00004393547,0.005049183,0.0000257455,0.000001648653,0.001074589,0.9888559,0.0002410291],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.09219985,0.7709149,0.00001872055,0.01292913,0.001377051,0.002420725,0.0001185559,0.0001019365,0.1199191],"genre_scores_gemma":[0.786365,0.1427401,0.00004221986,0.03479505,0.001666161,0.0004608441,0.0000741954,0.00007563781,0.03378072],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.6941652,"threshold_uncertainty_score":0.9962887,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2080590979","doi":"10.1080/10509200601091433","title":"Fascism and Family Entertainment","year":2008,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","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":"University of Calgary","funders":"","keywords":"Entertainment; Dream; Art; Animation; Visual arts; Art history; Advertising; Psychology; Business","authors":[{"name":"Florentine Strzelczyk","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0184430965202548,"gpt":0.2791850608625332,"spread":0.2607419643422784,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005128775,0.00009959485,0.0002653621,0.00001851892,0.0002834552,0.00001703371,0.000106241,0.00005558545,0.00008168943],"category_scores_gemma":[0.00002234708,0.00008395012,0.00008939493,0.0001078455,0.0003517458,0.0001517057,0.00001265688,0.00006203434,0.00001806877],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001188977,"about_ca_system_score_gemma":0.00005369738,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000400204,"about_ca_topic_score_gemma":0.00003017059,"domain_scores_codex":[0.9990194,0.0001201762,0.0002476676,0.0001760856,0.0002443019,0.0001923091],"domain_scores_gemma":[0.9995335,0.00005834041,0.00008981588,0.0001404426,0.00005149568,0.0001264355],"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":[0.00002020237,0.0001927459,0.01384338,0.006530769,0.0001127052,0.00003890543,0.1908349,2.791555e-8,0.0003857618,0.01288156,0.2097568,0.5654023],"study_design_scores_gemma":[0.0005741484,0.000602932,0.02498498,0.003151527,0.00007826042,0.00002104519,0.01182752,0.000006355025,0.00001600422,0.0006548225,0.9577146,0.000367798],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6512352,0.313387,0.00007730872,0.003523689,0.0004237115,0.0008346282,0.00005606452,0.0000496417,0.03041283],"genre_scores_gemma":[0.6761527,0.3175603,0.0003974213,0.003617583,0.000141621,0.00002047132,0.000009833615,0.000009969316,0.00209004],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7479578,"threshold_uncertainty_score":0.3423387,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4322492901","doi":"10.1080/10509208.2023.2183737","title":"Class Polarization, Gendered Violence, and Climate Insecurity in Neoliberal Korea: Burning and Parasite","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Housing, Finance, and Neoliberalism","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Capitalism; Rumble; Criticism; Technoscience; Politics; Polarization (electrochemistry); Sociology; Political science; Media studies; Gender studies; Art; Political economy; Social science; Law; Engineering","authors":[{"name":"Milo Sweedler","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02056060839980352,"gpt":0.2474656299790538,"spread":0.2269050215792503,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000634457,0.0001669049,0.000611898,0.0002162252,0.00008545655,0.00004639153,0.00007258418,0.00009180922,0.00002279224],"category_scores_gemma":[0.00001422736,0.0001770089,0.00005071386,0.0004083512,0.00009591854,0.0002725447,0.00003201104,0.0001285337,0.00002126039],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001125885,"about_ca_system_score_gemma":0.00001138383,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000358201,"about_ca_topic_score_gemma":0.00007551231,"domain_scores_codex":[0.9985487,0.00003854434,0.0007069774,0.0003773258,0.00003763389,0.0002907947],"domain_scores_gemma":[0.9993773,0.00004661496,0.0003048163,0.0001646857,0.00002530652,0.00008128167],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00003950156,0.00008949644,0.7263663,0.01109304,0.00005385951,0.00003630259,0.007169423,0.0000023488,0.0001008623,0.07493559,0.001118159,0.1789951],"study_design_scores_gemma":[0.001599357,0.0004094749,0.9260571,0.008629776,0.00003021588,0.00004203644,0.0001626273,0.003923536,0.00001104111,0.01336562,0.04510905,0.0006601849],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8851998,0.1127066,0.00005677282,0.0002572097,0.00009119471,0.0002406442,0.0001091979,0.00002973282,0.001308818],"genre_scores_gemma":[0.7310874,0.2681088,0.0001187903,0.0005272825,0.00003128845,0.00001541617,0.00003330484,0.00001440301,0.00006336712],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1996907,"threshold_uncertainty_score":0.7218213,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2053587382","doi":"10.1080/10509208.2012.662002","title":"<i>Film Festivals: Culture, People, and Power on the Global Screen</i>by Cindy Hing-Yuk Wong. New Brunswick, NJ: Rutgers University Press, 2011","year":2013,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Power (physics); Art history; Media studies; Humanities; Sociology; Physics","authors":[{"name":"David Desser","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01885006144223055,"gpt":0.2524465010487801,"spread":0.2335964396065495,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003708423,0.0001964491,0.000342005,0.00001185705,0.0004591724,0.0001535464,0.0002793684,0.0001164373,0.00108758],"category_scores_gemma":[0.00006297021,0.0001246567,0.00008598922,0.0001978866,0.0002836273,0.0003535433,0.00003775565,0.0001601692,0.00003750394],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005549104,"about_ca_system_score_gemma":0.0002393041,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0419203,"about_ca_topic_score_gemma":0.001221703,"domain_scores_codex":[0.9986385,0.000205578,0.0002584767,0.0002873,0.0003178392,0.0002923452],"domain_scores_gemma":[0.9991367,0.00009953674,0.0001922557,0.0001889678,0.0001279566,0.0002546154],"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":[0.000008071369,0.00002248601,0.001994051,0.00009925243,0.00003057856,0.000001087399,0.002219249,3.288747e-8,0.000007682524,0.002861542,0.9719639,0.02079203],"study_design_scores_gemma":[0.0002667943,0.0002668145,0.009863453,0.001176971,0.00005662371,0.000003064101,0.003701938,0.000002454761,0.00001369289,0.000171205,0.9842384,0.0002386087],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.123921,0.3342883,0.0001182399,0.1259236,0.0009753216,0.006290177,0.0002558569,0.0002453928,0.4079821],"genre_scores_gemma":[0.3672778,0.3334765,0.0006845509,0.01182029,0.0005735707,0.00002811009,0.0001101853,0.00005191975,0.2859771],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.2433568,"threshold_uncertainty_score":0.9998255,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1971300094","doi":"10.1080/10599230802244755","title":"<i>Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema</i>by Adrienne L. McLean. New Brunswick: Rutgers University Press, 2008","year":2010,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Ballet; Movie theater; Art; Narrative; Art history; Performance art; Visual arts; Literature; Dance","authors":[{"name":"Antoinette Winstead","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01023453430285533,"gpt":0.204651716133448,"spread":0.1944171818305926,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003230814,0.0001648522,0.0005080472,0.00003844137,0.0001986524,0.00002766511,0.0001137034,0.00005698266,0.00009663933],"category_scores_gemma":[0.0000533293,0.0001357206,0.00005938443,0.00009775236,0.0002189636,0.0001826032,0.00003930277,0.0001719571,0.000004524102],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006189021,"about_ca_system_score_gemma":0.00003156389,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000783951,"about_ca_topic_score_gemma":0.0001814442,"domain_scores_codex":[0.9991007,0.00002132005,0.0003375582,0.000310858,0.0000351029,0.0001944527],"domain_scores_gemma":[0.9992711,0.0001094035,0.000240645,0.0002165478,0.00003214801,0.0001301456],"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":[0.0000910533,0.0001642373,0.02109783,0.00543295,0.0004190708,0.00001620666,0.02347247,2.096743e-7,0.001213585,0.04771665,0.8502485,0.05012731],"study_design_scores_gemma":[0.001420857,0.0005963891,0.007430238,0.0008782905,0.0001009587,0.00003637793,0.002123052,0.00008684945,0.000070721,0.0008259231,0.9860079,0.0004224982],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.210553,0.719907,0.0004034854,0.02524973,0.0007636062,0.00144668,0.0002188701,0.00005026803,0.04140732],"genre_scores_gemma":[0.4360229,0.5523326,0.0006003722,0.001675016,0.000233598,0.000008718363,0.00002532361,0.00003253227,0.009068925],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.2254699,"threshold_uncertainty_score":0.5534528,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1990274277","doi":"10.1080/10509200903004647","title":"<i>The Shanghai Gesture</i>: Melodrama and Modern Women in the East/West Romance","year":2012,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Theater, Performance, and Music History","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":"Romance; Art; Gesture; Literature; Art history; Computer science; Artificial intelligence","authors":[{"name":"Karen Kuo","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01506186128916766,"gpt":0.2188175887386061,"spread":0.2037557274494385,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009865849,0.0001405462,0.0002706535,0.00002769417,0.0003059359,0.00006394362,0.0001683825,0.00002758109,0.0001084578],"category_scores_gemma":[0.00000795377,0.00007488531,0.00004513027,0.00002988088,0.0002847485,0.0002921497,0.00001261065,0.0001212423,0.00002258578],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001580345,"about_ca_system_score_gemma":0.00001493187,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006136229,"about_ca_topic_score_gemma":0.0003381825,"domain_scores_codex":[0.9989986,0.00009610936,0.0003131183,0.0001260806,0.0001361141,0.0003300209],"domain_scores_gemma":[0.9994639,0.00007177879,0.0001130865,0.0002513971,0.00002958114,0.00007024776],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003634439,0.0001342849,0.0009433728,0.003824853,0.00003514722,0.000002232305,0.5273241,5.78364e-8,0.00004074439,0.0333738,0.02723651,0.4070485],"study_design_scores_gemma":[0.0002204542,0.0002180732,0.003390879,0.001004497,0.0000247801,0.00001236764,0.00478664,0.00001383546,6.858784e-7,0.0004324583,0.9897675,0.0001278413],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5214835,0.4529284,0.000003937364,0.001225676,0.0006106654,0.0006002423,0.00002987474,0.00002509498,0.02309264],"genre_scores_gemma":[0.9744081,0.0213558,0.000006524786,0.001888364,0.0004153331,0.0001225329,0.000005227093,0.000011324,0.001786747],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.962531,"threshold_uncertainty_score":0.3053734,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1978078723","doi":"10.1080/10509200600737838","title":"<i>The Rifleman</i>by Christopher Sharrett. Detroit: Wayne State University Press, 2005","year":2009,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Theater, Performance, and Music History","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":"Newspaper; Art history; Symbol (formal); Performance art; State (computer science); Art; Media studies; History; Sociology; Philosophy; Computer science","authors":[{"name":"Stephanie Dickison","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007463140944796568,"gpt":0.191840566597755,"spread":0.1843774256529584,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002955588,0.0001587555,0.000300205,0.00002372753,0.0003912791,0.00004636774,0.0002034643,0.00002697105,0.0004333736],"category_scores_gemma":[0.000003526727,0.0001132386,0.0001035241,0.00002281274,0.0002578922,0.0002579663,0.000008375803,0.0001134984,0.00002967446],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002516276,"about_ca_system_score_gemma":0.00002621359,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001445178,"about_ca_topic_score_gemma":0.0001817207,"domain_scores_codex":[0.9990422,0.00006107075,0.0003156918,0.0001865087,0.0001430087,0.0002515544],"domain_scores_gemma":[0.9993621,0.00003220047,0.0001744597,0.0002780034,0.00006473675,0.00008846639],"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":[0.00003655432,0.00005045784,0.000006626623,0.0009250627,0.00002254348,0.000003632468,0.004633833,4.999291e-8,0.00007003676,0.007661994,0.8379578,0.1486314],"study_design_scores_gemma":[0.0002757127,0.0003354844,0.00007588704,0.0007921216,0.00004860639,0.000002564234,0.0003125419,0.000007711406,0.00001334611,0.00009182944,0.9978969,0.0001472554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.03424348,0.7591886,0.00005149922,0.002984713,0.001444047,0.00130388,0.000529861,0.0001759586,0.200078],"genre_scores_gemma":[0.2596623,0.4316562,0.00007323365,0.006123834,0.001073561,0.00002417841,0.0001113488,0.00005532105,0.30122],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.3275324,"threshold_uncertainty_score":0.4745137,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413718920","doi":"10.1080/10509208.2025.2546212","title":"Indigenous Response to Ecocrises in the Indian Film <i>Kantara</i> (2022) and the Video Performance (2021) of <i>Sila</i> , a Canadian Play","year":2025,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Ecocriticism and Environmental Literature","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; Indigenous; Visual arts; Art history; Media studies; Sociology; Biology","authors":[{"name":"Supthita Pal","is_ca":false},{"name":"Dhishna Pannikot","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.004635465029238951,"gpt":0.2061730926752925,"spread":0.2015376276460535,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001015557,0.0001856468,0.0004431712,0.0001535707,0.0002796605,0.00009227528,0.000289189,0.00004603638,0.0002532153],"category_scores_gemma":[0.00004222376,0.000108887,0.00007535542,0.0001456806,0.0003638274,0.0001714524,0.00002508831,0.0002015388,0.00001002363],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002114659,"about_ca_system_score_gemma":0.0000913414,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01034325,"about_ca_topic_score_gemma":0.04320437,"domain_scores_codex":[0.9986113,0.0002644651,0.0004824426,0.000218807,0.0001442489,0.0002787685],"domain_scores_gemma":[0.9990737,0.0003469523,0.00009263353,0.0003716761,0.00003089723,0.00008416567],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001686678,0.0002599976,0.00855716,0.01724192,0.0001789472,0.00008510003,0.6978897,0.000003082611,0.0001730451,0.02219819,0.1045732,0.1471529],"study_design_scores_gemma":[0.001312605,0.001058627,0.01944033,0.009124486,0.0001442345,0.00003199593,0.01685039,0.00001037501,0.00006736861,0.0005048263,0.9511201,0.0003346239],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8656284,0.1166904,5.222896e-7,0.004875728,0.0001854497,0.001065883,0.0004446006,0.00000551035,0.01110343],"genre_scores_gemma":[0.9683199,0.01907649,0.00001168617,0.01140531,0.00005219808,0.000096809,0.00002338724,0.000009020187,0.001005199],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8465469,"threshold_uncertainty_score":0.9962469,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4364361586","doi":"10.1080/10509208.2023.2194230","title":"Reading Cronenberg – A Clinical Approach To The Psychoanalysis of Film","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Psychoanalysis, Philosophy, and Politics","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Continental (Canada)","funders":"Universiteit Gent; Fonds Wetenschappelijk Onderzoek","keywords":"Flemish; Premise; Reading (process); Historicity (philosophy); German; The arts; Sociology; Epistemology; Media studies; Art; Philosophy; Visual arts; Law; Political science; Linguistics","authors":[{"name":"Kobe Keymeulen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06093012690344578,"gpt":0.395393142844246,"spread":0.3344630159408002,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002151252,0.0002318053,0.001050415,0.0002261206,0.00008253119,0.00001876354,0.0004877884,0.0001281369,0.0003230709],"category_scores_gemma":[0.0001214145,0.0001594968,0.0006094649,0.001279678,0.0001734436,0.0000592712,0.00002861587,0.0002254332,0.0003646487],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007653687,"about_ca_system_score_gemma":0.00002568731,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001374054,"about_ca_topic_score_gemma":0.000009910294,"domain_scores_codex":[0.9968871,0.000571233,0.001369848,0.0005067001,0.0002953754,0.0003697784],"domain_scores_gemma":[0.9975548,0.0004761338,0.000425814,0.001218482,0.0001504714,0.0001742962],"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":[0.000122782,0.000704419,0.007555924,0.005326065,0.002299311,0.000009965309,0.006814305,0.000007036087,0.00004359199,0.03269961,0.7744697,0.1699473],"study_design_scores_gemma":[0.001785723,0.002575812,0.07874715,0.005356244,0.004085199,0.00008073976,0.003717371,0.000899856,0.000008118597,0.007541832,0.8941125,0.001089443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1416506,0.1796884,0.003498283,0.0282633,0.004642037,0.004030245,0.0009520667,0.0003561768,0.6369188],"genre_scores_gemma":[0.9462401,0.0324678,0.001076071,0.009294493,0.001297688,0.000229218,0.00016649,0.00008123085,0.009146954],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8045895,"threshold_uncertainty_score":0.6504089,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385197815","doi":"10.1080/10509208.2023.2236509","title":"Historiography and Documentary Techniques in <i>Let It Be</i> (1970) and <i>The Beatles: Get Back</i> (2021)","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Music History 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":"Wilfrid Laurier University","funders":"","keywords":"Studio; Art; Art history; Historiography; Performance art; Movie theater; History; Literature; Media studies; Visual arts; Sociology","authors":[{"name":"William Kummer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01466219897200914,"gpt":0.2331189389686095,"spread":0.2184567399966003,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000554608,0.0001708558,0.0004295597,0.00008798867,0.0001893572,0.00005531464,0.00009871952,0.00004465008,0.001181542],"category_scores_gemma":[0.000007420248,0.0001123572,0.000091382,0.0001064641,0.0005748108,0.0002099776,0.00002143573,0.0001361151,0.00001190171],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000009088871,"about_ca_system_score_gemma":0.00001154173,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003532338,"about_ca_topic_score_gemma":0.001079163,"domain_scores_codex":[0.9989833,0.0001193964,0.0003730003,0.0002369122,0.0001280253,0.0001593364],"domain_scores_gemma":[0.999505,0.00008800834,0.0001153262,0.0001979035,0.000037776,0.00005601334],"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":[0.00002742468,0.0000234986,0.00009200623,0.003784937,0.00002852646,0.000007028353,0.04399512,4.15534e-9,0.00002730085,0.01267839,0.8962581,0.04307766],"study_design_scores_gemma":[0.0003934109,0.0001837507,0.00002831006,0.002198322,0.00005917777,0.000006408678,0.002659693,0.000001729255,0.000003017687,0.0008794953,0.9934434,0.00014329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.02725212,0.8093264,0.00000851764,0.02540186,0.001052104,0.00283174,0.0004067702,0.0001786147,0.1335419],"genre_scores_gemma":[0.09405228,0.7891398,0.000429843,0.07439484,0.001842229,0.0008365583,0.0004556903,0.0001164269,0.03873235],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.09718528,"threshold_uncertainty_score":0.9997315,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2023569280","doi":"10.1080/10509200802310632","title":"<i>Michelangelo Antonioni Interviews</i>, edited by Bert Cardullo. Jackson: University Press of Mississippi, 2008","year":2010,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art; Art history; Performance art; Visual arts; Sociology; Media studies","authors":[{"name":"Murray Pomerance","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009992032153216873,"gpt":0.2605755297492455,"spread":0.2505834975960286,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008181591,0.0001434107,0.0004504727,0.00002555674,0.0001731072,0.00001960503,0.0003415484,0.0001555054,0.0002998716],"category_scores_gemma":[0.00005189279,0.00012893,0.0002107975,0.0002252786,0.0004180848,0.0002376183,0.00002548782,0.0001850288,0.000008058165],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001319482,"about_ca_system_score_gemma":0.00009000159,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002201387,"about_ca_topic_score_gemma":0.0002851159,"domain_scores_codex":[0.9986845,0.0002459302,0.000331891,0.0002279897,0.0002789678,0.0002306967],"domain_scores_gemma":[0.9989876,0.00009715452,0.000261753,0.0002827876,0.0001967079,0.0001740062],"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":[0.00001640981,0.0001136579,0.001069303,0.003292368,0.00006981438,0.000003786294,0.01580108,8.65732e-9,0.001587701,0.001214387,0.9115394,0.06529206],"study_design_scores_gemma":[0.0002340345,0.0001420117,0.0004866114,0.001199088,0.00008316405,0.000002180502,0.002373351,0.000003147136,0.0001778505,0.00001855665,0.9951252,0.0001548393],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.3169617,0.5200843,0.0001765761,0.01544359,0.004842967,0.003274944,0.002674418,0.0002367043,0.1363048],"genre_scores_gemma":[0.4685457,0.4826839,0.002269143,0.003939045,0.001407445,0.00002359896,0.0004370082,0.00008235863,0.04061181],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.151584,"threshold_uncertainty_score":0.5257612,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1938908596","doi":"10.1080/10509208.2011.562126","title":"A Review of “Buzz: The Life and Art of Busby Berkeley”","year":2012,"lang":"en","type":"review","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Marketing buzz; Art; Art history; Still life; Visual arts; Computer science; Painting","authors":[{"name":"Murray Pomerance","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05464687822844748,"gpt":0.2871004007333401,"spread":0.2324535225048927,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001680972,0.0003701734,0.004844558,0.0001248727,0.00004024734,0.000007023381,0.0002672905,0.0001259836,0.0002772292],"category_scores_gemma":[0.0003145694,0.0002469706,0.0006729041,0.0003331018,0.0002288847,0.00009290791,0.0000611265,0.0002008966,0.00006219628],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001009977,"about_ca_system_score_gemma":0.00005938466,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000031013,"about_ca_topic_score_gemma":0.000006086289,"domain_scores_codex":[0.9968371,0.00009423378,0.002410795,0.0003477716,0.00006975188,0.0002403466],"domain_scores_gemma":[0.9963806,0.0003550322,0.002417885,0.0006357078,0.00009144299,0.0001193863],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"systematic_review","study_design_gemma":"not_applicable","study_design_scores_codex":[7.188646e-7,0.00002482886,0.0000368303,0.527886,0.0001595879,1.984295e-7,0.0000791155,2.697234e-10,1.59265e-8,0.001767648,0.02021776,0.4498273],"study_design_scores_gemma":[0.00008676693,0.0001441206,0.00004582993,0.2697014,0.0007525468,0.0000131781,0.00001380281,1.769326e-7,3.64028e-8,0.00009860341,0.7289823,0.0001612656],"study_design_candidate":"systematic_review","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.000002797202,0.9944649,0.000006639264,0.0004695508,0.0002502701,0.001193154,0.0003581708,0.000004977728,0.003249492],"genre_scores_gemma":[0.000010407,0.9986437,0.00006101143,0.0006420673,0.0001220279,0.0001300649,0.00004272026,0.00002604179,0.0003219739],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.7087646,"threshold_uncertainty_score":0.9999983,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}