{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":26,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":26,"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":"b02d352ec855","filters":{"venue":"Science Fiction Film & Television"}},"results":[{"id":"W2086899920","doi":"10.3828/sfftv.2011.11","title":"Introduction: Science fiction and biopolitics","year":2011,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Neuroethics, Human Enhancement, Biomedical Innovations","field":"Neuroscience","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":"Biopower; Technoscience; Environmental ethics; Governmentality; Context (archaeology); Politics; Population; Aesthetics; Sociology; Corporate governance; Political science; Social science; History; Law; Art; Philosophy","authors":[{"name":"Sherryl Vint","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07437058753607725,"gpt":0.3162142936032205,"spread":0.2418437060671432,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001854458,0.0007411887,0.0005613324,0.002948537,0.005598235,0.007891353,0.00106182,0.004315022,0.02908237],"category_scores_gemma":[0.007984036,0.0001959749,0.0005651396,0.002544789,0.0138919,0.007901473,0.003123059,0.00635234,0.006312196],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003929694,"about_ca_system_score_gemma":0.001493121,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001619112,"about_ca_topic_score_gemma":0.001571768,"domain_scores_codex":[0.9981564,0.0009017598,0.00008252261,0.0002574459,0.0004636718,0.0001381035],"domain_scores_gemma":[0.9909499,0.007237922,0.0003493591,0.0004330408,0.0007541981,0.0002756544],"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":[0.00001551747,0.00001420687,0.0001052636,0.000230456,0.000003177274,0.0001169301,0.004232522,0.00007264662,0.00008896292,0.7688997,0.2112366,0.01498401],"study_design_scores_gemma":[0.000002746962,0.000009257841,0.00009272956,0.0002718734,0.000001227688,0.0001579557,0.0006806932,0.00007085338,0.00006933178,0.06686032,0.9317778,0.000005277182],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"commentary","genre_scores_codex":[0.004190686,0.09908138,0.006632728,0.1930187,0.04214798,0.00006499397,0.0004888314,0.0002131125,0.6541616],"genre_scores_gemma":[0.2479295,0.06588485,0.007498411,0.1363199,0.1013349,0.00033336,0.001141732,0.0006795162,0.4388779],"genre_candidate":"commentary","genre_consensus":null,"teacher_disagreement_score":0.02908237,"threshold_uncertainty_score":0.09729016,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1563645383","doi":"10.3828/sfftv.2011.5","title":"Archive: <i>Femmes Futures</i> : one hundred years of female representation in sf cinema","year":2011,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Movie theater; Futures contract; Representation (politics); Art; Art history; Humanities; Political science; Politics; Business","authors":[{"name":"Dean Conrad","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0848284053018434,"gpt":0.2709277542500497,"spread":0.1860993489482063,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006649526,0.0004226487,0.0002204316,0.001973192,0.004216521,0.004573862,0.0003461869,0.0007076497,0.1736181],"category_scores_gemma":[0.0027087,0.0002189983,0.0001586042,0.002285904,0.001239373,0.002005312,0.002081192,0.001431657,0.02516557],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002114218,"about_ca_system_score_gemma":0.0008131074,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0210513,"about_ca_topic_score_gemma":0.04366528,"domain_scores_codex":[0.9997165,0.00005139477,0.00001172374,0.0000419927,0.0001082006,0.00007028719],"domain_scores_gemma":[0.9991226,0.0002879478,0.00006440112,0.0001100828,0.0002215285,0.0001933959],"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":[0.00005384883,0.00001360096,0.0007333921,0.0001571154,0.000002399418,0.0001469802,0.01943689,0.00001580846,0.0003939351,0.007276061,0.9301531,0.04161693],"study_design_scores_gemma":[0.000002188057,0.000008820319,0.004108212,0.0002129272,0.00000156906,0.0001804061,0.003811828,0.00001018212,0.0001437416,0.0002248251,0.991291,0.000004315365],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01652374,0.007004856,0.0005337207,0.01111083,0.005942479,0.0000696188,0.008915001,0.0005559477,0.9493438],"genre_scores_gemma":[0.1461579,0.006434598,0.0005875873,0.001933289,0.004169255,0.0001086145,0.004539227,0.0008864363,0.8351831],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1736181,"threshold_uncertainty_score":0.5808105,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1499921149","doi":"","title":"Nostalgia for the Light (original title: Nostalgia de la luz) (review)","year":2011,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Political and Social Dynamics in Chile and Latin America","field":"Social Sciences","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Dictatorship; Battle; Dictator; Military government; Bourgeoisie; Politics; Movie theater; Democracy; Humanities; Reactionary; Art; History; Art history; Political science; Law; Ancient history","authors":[{"name":"Carl Freedman","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02328997670734984,"gpt":0.3399455239826898,"spread":0.31665554727534,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001319206,0.0005577442,0.0009726648,0.001768156,0.0005718902,0.003167269,0.001234464,0.001691899,0.05734896],"category_scores_gemma":[0.005452322,0.0002584927,0.0008364815,0.001924494,0.0009386381,0.002317631,0.00136004,0.002951301,0.01272834],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001484281,"about_ca_system_score_gemma":0.003175964,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002886598,"about_ca_topic_score_gemma":0.004466003,"domain_scores_codex":[0.9992022,0.0001834336,0.0001052457,0.0001044344,0.0002938118,0.0001108439],"domain_scores_gemma":[0.9983267,0.0004736173,0.0004025789,0.00006803763,0.0005114594,0.0002175666],"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":[0.00008690107,0.00003253446,0.0001834365,0.01801818,0.00007951329,0.0000682423,0.00008383593,0.00003282386,0.0001438578,0.002441279,0.5498924,0.428937],"study_design_scores_gemma":[0.00004239152,0.00003049767,0.0008543879,0.01226028,0.00005510457,0.0002719654,0.00007518064,0.000009099189,0.00004207855,0.0004338627,0.9859164,0.000008540954],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00008460587,0.9863002,0.00004701779,0.003750196,0.004562143,0.00002008883,0.0001438626,0.00002126023,0.005070675],"genre_scores_gemma":[0.002373462,0.9782646,0.0001206363,0.005608356,0.004967664,0.0000578541,0.0004377744,0.00002169045,0.008147983],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.05734896,"threshold_uncertainty_score":0.1918514,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2593464805","doi":"","title":"Mad Max: Fury Road (review)","year":2017,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Miller; George (robot); Politics; Art history; History; Performance art; Media studies; Art; Law; Political science; Sociology","authors":[{"name":"Bonnie McLean","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04018256724849618,"gpt":0.2788229836629053,"spread":0.2386404164144091,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008775378,0.001116146,0.001287282,0.002454732,0.0008449281,0.005307533,0.002141494,0.002989043,0.3429715],"category_scores_gemma":[0.006207975,0.0005344641,0.001101559,0.001743209,0.0005760479,0.003226036,0.00179984,0.003996646,0.2413719],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002066008,"about_ca_system_score_gemma":0.003343423,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004828466,"about_ca_topic_score_gemma":0.007111695,"domain_scores_codex":[0.9989441,0.0001669079,0.00009498451,0.0001555969,0.0005137598,0.0001246794],"domain_scores_gemma":[0.9972906,0.0004253038,0.0003652138,0.0001236529,0.001239773,0.0005554556],"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":[0.00002806698,0.000007824206,0.00002398336,0.00293025,0.00001596018,0.00003757049,0.00001584705,0.00001234264,0.00009696298,0.0002874524,0.9111612,0.08538251],"study_design_scores_gemma":[0.00002202866,0.00001448093,0.0002442222,0.002584052,0.00001810689,0.00009297003,0.00002500792,0.0000109638,0.00004695711,0.0001985081,0.9967346,0.000008207953],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0003754494,0.611183,0.001085644,0.05380791,0.05511713,0.0009660023,0.006957279,0.001881468,0.2686261],"genre_scores_gemma":[0.003683244,0.4515923,0.001101241,0.06579776,0.02067576,0.001116202,0.005460145,0.0005788451,0.4499946],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.3429715,"threshold_uncertainty_score":0.9371714,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2070012670","doi":"10.3828/sfftv.2.1.1","title":"Downloading doppelgängers: New media anxieties and transnational ironies in <i>Battlestar Galactica</i>","year":2009,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Media Studies and Communication","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Upload; Computer science; World Wide Web","authors":[{"name":"Mark A. McCutcheon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02724116129870415,"gpt":0.2997141361374002,"spread":0.2724729748386961,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001745633,0.0003820948,0.0002932355,0.002059038,0.02581214,0.01358523,0.0008601496,0.002445413,0.005806753],"category_scores_gemma":[0.005200157,0.0002792695,0.0001459982,0.002301859,0.02207559,0.008287533,0.004052567,0.004645602,0.0005457675],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01747353,"about_ca_system_score_gemma":0.007430004,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4682836,"about_ca_topic_score_gemma":0.5987449,"domain_scores_codex":[0.9984906,0.0004204828,0.00002856857,0.0001308734,0.0004822703,0.0004472321],"domain_scores_gemma":[0.9970246,0.001547008,0.0003146228,0.0001689543,0.0005177417,0.0004270663],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004434094,0.00001750915,0.003115852,0.00004707257,0.000006510431,0.0007063611,0.894399,0.00003545131,0.0004065632,0.06549215,0.02376704,0.0119621],"study_design_scores_gemma":[0.000007661162,0.00001286314,0.005109685,0.0001135241,0.000009234906,0.0003794598,0.7588902,0.00005558054,0.0002801746,0.003692832,0.2314212,0.00002753323],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5212757,0.004786828,0.0006560206,0.05358616,0.0006553655,0.00002232164,0.000152709,0.00007544787,0.4187896],"genre_scores_gemma":[0.9729397,0.001482753,0.000106131,0.003609018,0.0001946331,0.000008778956,0.00004707552,0.00007379763,0.02153816],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4682836,"threshold_uncertainty_score":0.9311157,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1968874987","doi":"10.3828/sfftv.2012.2","title":"Techno-butterfly","year":2012,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Japanese History and Culture","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Orientalism; Theme (computing); Narrative; Representation (politics); History; Colonialism; Butterfly; East Asia; Sociology; Aesthetics; Gender studies; Literature; Art; Politics; Political science; China; Law","authors":[{"name":"Eve Bennett","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01951540811871244,"gpt":0.2968528353106156,"spread":0.2773374271919032,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004072935,0.0003689204,0.0001028301,0.0007077482,0.002785684,0.004175495,0.000355854,0.0008039147,0.02401281],"category_scores_gemma":[0.0008319269,0.0000972112,0.0001489664,0.0009700481,0.006541077,0.002053792,0.001908436,0.001168353,0.002647787],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004864485,"about_ca_system_score_gemma":0.001589555,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01646581,"about_ca_topic_score_gemma":0.03032625,"domain_scores_codex":[0.999663,0.00008537158,0.00001197246,0.00004866761,0.0001128096,0.00007817821],"domain_scores_gemma":[0.9997477,0.00006572192,0.00002692879,0.00005358801,0.00005261511,0.00005344958],"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":[0.0000576099,0.00001396459,0.00116819,0.0001360192,0.000004396727,0.000392045,0.03643842,0.0001629152,0.001341907,0.8741432,0.04088018,0.04526115],"study_design_scores_gemma":[0.000004534059,0.00001822442,0.001204246,0.00008399606,0.000003072299,0.0002685932,0.009251656,0.000135196,0.0005139302,0.01312573,0.975385,0.000005949221],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0228767,0.001605959,0.001920876,0.004858222,0.0005143221,0.0000165162,0.00007300407,0.0001051696,0.9680292],"genre_scores_gemma":[0.7071227,0.0020949,0.001335116,0.001461572,0.0002426811,0.00003703974,0.000113621,0.00014825,0.2874441],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.02401281,"threshold_uncertainty_score":0.08033085,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3009095018","doi":"10.3828/sfftv.2020.5","title":"<i>Blade Runner 2049</i> and the ‘quality’ Hollywood film","year":2020,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Hollywood; Quality (philosophy); Style (visual arts); Narrative; Studio; Value (mathematics); Blade (archaeology); Space (punctuation); Aesthetics; History; Visual arts; Art; Literature; Computer science; Epistemology; Art history; Archaeology","authors":[{"name":"Geoff King","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04029668362773839,"gpt":0.254545656669254,"spread":0.2142489730415156,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006187517,0.0001843381,0.00009558257,0.0006789539,0.002993584,0.007534993,0.0003754594,0.0009659883,0.005359785],"category_scores_gemma":[0.002280703,0.0001255856,0.00009822746,0.001195343,0.007345176,0.002335223,0.001227881,0.001865028,0.0005030078],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005696971,"about_ca_system_score_gemma":0.001492912,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03888902,"about_ca_topic_score_gemma":0.05789871,"domain_scores_codex":[0.999303,0.0003177129,0.00001731501,0.00007677969,0.0001651475,0.000120144],"domain_scores_gemma":[0.9993027,0.000355963,0.00009490603,0.00004131719,0.0001223709,0.00008267469],"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":[0.00005010503,0.00001128649,0.001942811,0.00007326622,0.000005028504,0.0003271073,0.03280568,0.0001558153,0.0003341774,0.9140784,0.03163655,0.01857974],"study_design_scores_gemma":[0.000006851549,0.00002860514,0.01192342,0.0002908905,0.000007314967,0.0004620824,0.03875969,0.000236683,0.0006015264,0.05525767,0.8924035,0.00002169396],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1586316,0.01283677,0.003896819,0.03509145,0.001011726,0.00002886915,0.0001336004,0.00004682562,0.7883223],"genre_scores_gemma":[0.925934,0.002951731,0.001023039,0.001584458,0.0002917315,0.00001191162,0.00005689273,0.00007430613,0.06807198],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03888902,"threshold_uncertainty_score":0.07732534,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W305936363","doi":"","title":"Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture by Steven T. Brown (review)","year":2014,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Japanese History and Culture","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":"Anime; Movie theater; Posthumanism; Art history; Art; Posthuman; Humanities; Aesthetics; Philosophy","authors":[{"name":"Sharalyn Orbaugh","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009448558202999748,"gpt":0.2890364309605356,"spread":0.2795878727575358,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001029902,0.0009517695,0.001025502,0.002018816,0.0006062646,0.00206012,0.0008916919,0.001662991,0.004559659],"category_scores_gemma":[0.001920939,0.0003877383,0.0004861134,0.004184046,0.001496561,0.003635346,0.001090017,0.002298281,0.001271293],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001637371,"about_ca_system_score_gemma":0.003643,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02263073,"about_ca_topic_score_gemma":0.02484891,"domain_scores_codex":[0.999685,0.00008381174,0.00004647734,0.00005661092,0.00009277166,0.00003535485],"domain_scores_gemma":[0.9990128,0.0003826671,0.000173551,0.00001816672,0.000288402,0.0001243897],"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":[0.00007553976,0.00004246487,0.0005772047,0.04940652,0.0001504909,0.0001958754,0.001847065,0.0001286766,0.0003299251,0.002910787,0.4552003,0.4891352],"study_design_scores_gemma":[0.00001598055,0.00005902163,0.005283447,0.01490169,0.0001484963,0.0005194032,0.0009304535,0.00002891391,0.00006613312,0.0004720044,0.9775438,0.00003056071],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00003829619,0.9986764,0.000005959317,0.0008388938,0.0002107958,0.000001176625,0.000005096593,8.759674e-7,0.0002224465],"genre_scores_gemma":[0.000790927,0.9973325,0.00002032604,0.0009017986,0.0005332293,0.000007408692,0.00001792463,0.00000145793,0.0003945665],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.02263073,"threshold_uncertainty_score":0.04499799,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2477611482","doi":"10.3828/sfftv.2016.9.5","title":"<i>Orphan Black</i> and <i>Extant</i>","year":2016,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Digital Media and Philosophy","field":"Computer Science","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":"Extant taxon; Personhood; Entertainment; Politics; Sociology; Media studies; Gender studies; Law; Political science; Biology","authors":[{"name":"Ayana Jamieson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.010011373597021,"gpt":0.2239484025389255,"spread":0.2139370289419045,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000242451,0.0004421506,0.0002519836,0.0004462278,0.004753844,0.002267137,0.0005219837,0.001071383,0.4280396],"category_scores_gemma":[0.0005795148,0.0002207366,0.0002142999,0.0006686654,0.0009469358,0.002202609,0.003184408,0.001796535,0.08527019],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001737227,"about_ca_system_score_gemma":0.001221342,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05317064,"about_ca_topic_score_gemma":0.1940506,"domain_scores_codex":[0.9998222,0.00001727009,0.000003550621,0.00002331431,0.00005475491,0.00007892463],"domain_scores_gemma":[0.9997217,0.00001540101,0.00002524355,0.00001095212,0.0000655269,0.0001611031],"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":[0.00005663671,0.00002297407,0.001152538,0.00007999152,0.000002572295,0.0001766372,0.002546335,0.00001242631,0.0006034238,0.004705254,0.9533209,0.03732025],"study_design_scores_gemma":[0.000002894439,0.0000106192,0.005778597,0.00007500014,0.000001104643,0.0001176408,0.004348631,0.000008694574,0.00009252268,0.0002719779,0.9892867,0.000005701443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01494524,0.001494135,0.0003112498,0.01572794,0.003199334,0.00008960243,0.002109271,0.0002388036,0.9618845],"genre_scores_gemma":[0.02937672,0.001163711,0.0003307874,0.002146109,0.0003229456,0.00007080791,0.0009986782,0.0002680813,0.9653223],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4280396,"threshold_uncertainty_score":0.8158321,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1599270469","doi":"","title":"David Cronenberg: Author or Film-Maker?, and: Videodrome. Studies in the Horror Film, and: The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero (review)","year":2010,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Digital Games and Media","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; HERO; Film director; Art history; Art; Intellect; Fantasy; Literature; Philosophy; Theology","authors":[{"name":"Rob Latham","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04168246441878386,"gpt":0.3724679698202533,"spread":0.3307855054014694,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001597036,0.001179065,0.001014904,0.002362869,0.0007646275,0.003973364,0.00177355,0.002439546,0.0604374],"category_scores_gemma":[0.008053439,0.0005422278,0.0004316377,0.004489109,0.001140309,0.00608028,0.001423043,0.003051551,0.02040372],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003295298,"about_ca_system_score_gemma":0.005228544,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0452388,"about_ca_topic_score_gemma":0.06738809,"domain_scores_codex":[0.9991043,0.0002328463,0.0000681909,0.0001104297,0.0003873441,0.00009677648],"domain_scores_gemma":[0.9971325,0.000965406,0.0003645175,0.0000772986,0.001016169,0.0004439904],"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":[0.00002209883,0.00000669153,0.00007849755,0.00362948,0.00001437108,0.00003076853,0.0002095447,0.000009117706,0.00004941943,0.0007201125,0.890358,0.1048719],"study_design_scores_gemma":[0.00001101807,0.00001146516,0.0007279806,0.006400261,0.00001754497,0.0001198531,0.0005396758,0.000006015195,0.0000400201,0.0003519934,0.9917652,0.000008983374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00003685973,0.9850904,0.00003454043,0.007010549,0.003324884,0.00001144917,0.00007386996,0.000009852437,0.004407702],"genre_scores_gemma":[0.001493583,0.9663916,0.0001133772,0.007238207,0.00241444,0.00005144501,0.0001863322,0.00002862374,0.02208224],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.0604374,"threshold_uncertainty_score":0.2021832,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2289952533","doi":"","title":"Zombies and Sexuality: Essays on Desire and the Living Dead ed. by Shaka McGlotten, Steve Jones (review)","year":2016,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Gothic Literature and Media Analysis","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":"Zombie; Human sexuality; Monster; Subject (documents); Art history; Sister; Art; Sociology; History; Literature; Gender studies; Anthropology","authors":[{"name":"Sarah Juliet Lauro","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01335347151509464,"gpt":0.2913078825752691,"spread":0.2779544110601745,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001735833,0.001243794,0.002034408,0.003161135,0.001057714,0.003656275,0.001318603,0.002213853,0.01341784],"category_scores_gemma":[0.005114789,0.0006669422,0.0009353008,0.005688601,0.002257557,0.004563022,0.002135095,0.003976058,0.00449448],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002177578,"about_ca_system_score_gemma":0.005757279,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01020061,"about_ca_topic_score_gemma":0.01941717,"domain_scores_codex":[0.9991109,0.0003305252,0.00008312023,0.00008973882,0.000304549,0.00008117322],"domain_scores_gemma":[0.9976065,0.001506917,0.0002966869,0.00004315372,0.000338721,0.0002079924],"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":[0.00005259774,0.00003163064,0.0002328334,0.01426729,0.0001003121,0.0001465105,0.001077227,0.0000714674,0.0001324288,0.004427494,0.739167,0.2402933],"study_design_scores_gemma":[0.00001657883,0.00001926739,0.001250208,0.02403795,0.00005232073,0.0004445498,0.0008482315,0.00001482651,0.00003451359,0.001456829,0.9718056,0.00001897342],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00002260483,0.9966133,0.000009771304,0.0023305,0.0005730799,0.000001382195,0.000009198727,0.000001099129,0.0004389744],"genre_scores_gemma":[0.0004988438,0.9952697,0.00002551283,0.001943555,0.0008747366,0.000009897874,0.0000281431,0.00000341666,0.001346263],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01341784,"threshold_uncertainty_score":0.04488713,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W831308579","doi":"","title":"Postcolonialism and Science Fiction by Jessica Langer (review)","year":2015,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Utopian, Dystopian, and Speculative Fiction","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":"Postcolonialism (international relations); Context (archaeology); Empire; Cultural studies; Colonialism; Field (mathematics); Media studies; Literary criticism; Narrative; Sci-Fi; History; Sociology; Literature; Art; Aesthetics; Art history; Social science; Fantasy; Anthropology","authors":[{"name":"Paweł Frelik","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03219448673678892,"gpt":0.2766472555036366,"spread":0.2444527687668476,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001286592,0.0008655327,0.001024373,0.00368478,0.0006579583,0.002316161,0.001260919,0.002625979,0.004301047],"category_scores_gemma":[0.004176949,0.0003745854,0.0005469493,0.004792778,0.00182718,0.003387561,0.001651217,0.003869693,0.001934836],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001761486,"about_ca_system_score_gemma":0.002796043,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004048896,"about_ca_topic_score_gemma":0.006451351,"domain_scores_codex":[0.9994425,0.0001521122,0.00006546768,0.0001011273,0.0001826675,0.00005622662],"domain_scores_gemma":[0.9970709,0.001941027,0.0003632883,0.00004523596,0.0003623456,0.0002171231],"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":[0.00005521745,0.00004102528,0.0003058713,0.02297597,0.00008172643,0.0002475222,0.0006856236,0.0001120666,0.0001688737,0.004759078,0.5300416,0.4405254],"study_design_scores_gemma":[0.00001523936,0.00003716628,0.001477577,0.0173302,0.00006028829,0.001056199,0.000283802,0.00003454539,0.00006651556,0.001497921,0.9781176,0.00002291131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00002822839,0.9971156,0.000007318099,0.001617163,0.0009695114,0.000001278436,0.000003112153,0.000001377854,0.0002563588],"genre_scores_gemma":[0.0006952047,0.9926121,0.00003461341,0.003097615,0.002758747,0.000007703405,0.00001842158,0.000002155243,0.0007735554],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.004301047,"threshold_uncertainty_score":0.01438844,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2195379150","doi":"","title":"Lonely Stardust: Two Plays, a Speech, and Eight Essays by Andrea Hairston (review)","year":2015,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Theatre and Performance 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":"Honour; Art; Performance art; Art history; Criticism; Foregrounding; Conversation; Tragedy (event); Sociology; History; Humanities; Literature; Philosophy; Linguistics","authors":[{"name":"Rubén G. Mendoza","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03035573881986833,"gpt":0.2631487497265502,"spread":0.2327930109066818,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003502738,0.001164665,0.001982111,0.003704932,0.001216878,0.003881231,0.00179961,0.00261724,0.008109103],"category_scores_gemma":[0.01186428,0.000841254,0.0008753673,0.00460677,0.001799797,0.004148311,0.002661987,0.004145726,0.005084367],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00248694,"about_ca_system_score_gemma":0.006940248,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006778294,"about_ca_topic_score_gemma":0.01668244,"domain_scores_codex":[0.9975652,0.0007437658,0.0003653781,0.0003018499,0.0008224678,0.0002015148],"domain_scores_gemma":[0.9930861,0.003013638,0.0009443205,0.0001378465,0.001855535,0.0009624763],"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":[0.00004817866,0.00002921484,0.0002145663,0.015573,0.0001288776,0.0001527045,0.0007292167,0.00003598418,0.0001434066,0.0007100804,0.7728612,0.2093736],"study_design_scores_gemma":[0.0000225385,0.00004095076,0.001146013,0.02271025,0.00009558565,0.0004939861,0.0006337665,0.000009874921,0.00004868377,0.0003084392,0.974463,0.00002699907],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0000577731,0.9917982,0.00001867491,0.005504584,0.002067975,0.000006471838,0.00001895163,0.000004209387,0.0005231657],"genre_scores_gemma":[0.001119229,0.9827372,0.00009414287,0.01018289,0.003359701,0.00006904922,0.00008045756,0.00001624453,0.00234127],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.008109103,"threshold_uncertainty_score":0.02712762,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1515638960","doi":"","title":"The Cinematic Life of the Gene (review)","year":2011,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Science Education and Perceptions","field":"Psychology","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; Admiration; Artificiality; Art history; Aesthetics; Literature; Philosophy; Epistemology","authors":[{"name":"Laurel Bollinger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07767585884396953,"gpt":0.3562026021824672,"spread":0.2785267433384976,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000431497,0.0007693879,0.0006221407,0.001477069,0.0004507586,0.00200271,0.0008637823,0.001488187,0.01644035],"category_scores_gemma":[0.001752368,0.0003054881,0.0004342228,0.00142575,0.0007255144,0.002143517,0.0007902514,0.002074627,0.003745718],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009140457,"about_ca_system_score_gemma":0.001001442,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003653893,"about_ca_topic_score_gemma":0.004667005,"domain_scores_codex":[0.9997761,0.00005966235,0.00002289737,0.00003802104,0.00006872637,0.00003455344],"domain_scores_gemma":[0.9992821,0.000379718,0.0001094048,0.00001653598,0.0001265265,0.00008586838],"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":[0.00006472461,0.00004174975,0.0002225336,0.01695872,0.00006480577,0.0002012792,0.0007325008,0.00008527995,0.0004030436,0.002777504,0.4265768,0.5518711],"study_design_scores_gemma":[0.00001138807,0.00003079149,0.001285548,0.007504497,0.00006064364,0.001194728,0.0003161771,0.00001830711,0.00008837374,0.0004464674,0.9890315,0.00001142154],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00009302637,0.996349,0.00002278846,0.001052089,0.0008552751,0.000002779109,0.00001878837,0.00000468292,0.00160161],"genre_scores_gemma":[0.001580317,0.9935492,0.00006393324,0.001273173,0.001319595,0.00001206486,0.00004324822,0.000005263488,0.00215319],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01644035,"threshold_uncertainty_score":0.05499852,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1602158172","doi":"","title":"Aika & Aine (Time and Matter): A Compilation of Short Films and Documentaries (review)","year":2009,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Film director; Art; Exhibition; Art history; Objectivity (philosophy); Rhetoric; Literature; History; Movie theater; Philosophy","authors":[{"name":"Roger Luckhurst","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01865280222021857,"gpt":0.2888679222013118,"spread":0.2702151199810932,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002245981,0.001489076,0.001665225,0.007592251,0.0005146246,0.003089984,0.002024343,0.001651451,0.08894745],"category_scores_gemma":[0.007722296,0.0007392027,0.001383367,0.01111479,0.0004640354,0.003027295,0.00151785,0.002181728,0.03385024],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002818817,"about_ca_system_score_gemma":0.004902401,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009310615,"about_ca_topic_score_gemma":0.01340111,"domain_scores_codex":[0.9987631,0.0001429887,0.0002390088,0.0001008802,0.0006497478,0.0001043961],"domain_scores_gemma":[0.993741,0.001921003,0.001368453,0.0001302128,0.002349897,0.0004893314],"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":[0.00005973923,0.00001364721,0.00005267069,0.01917162,0.00004349045,0.00003180021,0.00004346063,0.0000326387,0.0001841683,0.000325199,0.8203179,0.1597237],"study_design_scores_gemma":[0.00002213184,0.00002393139,0.0008256838,0.01500558,0.0000655071,0.00009583627,0.00005631001,0.00001042092,0.00007584896,0.0001605507,0.9836456,0.00001272117],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.000114995,0.9709788,0.0002622303,0.005376935,0.007323361,0.0002093697,0.004122915,0.0001467792,0.01146463],"genre_scores_gemma":[0.0009287265,0.9587959,0.0008071394,0.005028648,0.003007145,0.0005395619,0.005122287,0.0000941297,0.02567644],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.08894745,"threshold_uncertainty_score":0.2975588,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W333347845","doi":"","title":"John Carpenter's The Thing and The Thing box-set by John Carpenter (review)","year":2013,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Space Science and Extraterrestrial Life","field":"Physics and Astronomy","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":"The Thing; Monster; Alien; Hollywood; Art history; History; Performance art; Art; Shot (pellet); Genealogy; Literature; Law; Engineering; Politics; Political science","authors":[{"name":"Emma Anne James","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009405632230462651,"gpt":0.254094566963036,"spread":0.2446889347325734,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001207772,0.0013265,0.001366645,0.002135639,0.0007441778,0.003602203,0.002149879,0.00279493,0.02724752],"category_scores_gemma":[0.004429034,0.0004823368,0.0008811968,0.002523574,0.001023783,0.00408755,0.00156723,0.004629017,0.01190278],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00199922,"about_ca_system_score_gemma":0.003740764,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007769956,"about_ca_topic_score_gemma":0.01265125,"domain_scores_codex":[0.9992168,0.0001266154,0.0000817005,0.0001446301,0.0003294635,0.0001007549],"domain_scores_gemma":[0.998248,0.0005458134,0.0002247536,0.0000467752,0.0006166191,0.0003179888],"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":[0.00002950479,0.00001310924,0.00005983464,0.005923009,0.00003672238,0.0000531707,0.00007420355,0.000031011,0.00005715775,0.0009141064,0.8731992,0.1196089],"study_design_scores_gemma":[0.0000118608,0.00001444897,0.0002816894,0.005517887,0.00002974869,0.0002624943,0.00006562865,0.000008092098,0.00002098566,0.0002336742,0.9935439,0.000009725179],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00002743983,0.9858649,0.00003222256,0.005815562,0.006404343,0.000006880472,0.00003907004,0.000009153159,0.001800313],"genre_scores_gemma":[0.0005770716,0.9719663,0.00008560164,0.01190067,0.005870665,0.00002661707,0.0001393,0.00001601234,0.009417646],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.02724752,"threshold_uncertainty_score":0.09115201,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2980426017","doi":"10.3828/sfftv.2020.13","title":"Race and world memory in <i>Arrival</i>","year":2020,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Postcolonial and Cultural Literary 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":"Race (biology); History; Art; Sociology; Gender studies","authors":[{"name":"David H. Fleming","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0266732271330894,"gpt":0.2338639840548059,"spread":0.2071907569217165,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00114765,0.0003062092,0.0002025448,0.0007170123,0.009316036,0.01179668,0.0009084153,0.001381462,0.008826714],"category_scores_gemma":[0.002663874,0.0002080354,0.0001869828,0.0007035714,0.01700282,0.008934158,0.004954832,0.003254672,0.0005790521],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004315702,"about_ca_system_score_gemma":0.001354633,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02509938,"about_ca_topic_score_gemma":0.03476083,"domain_scores_codex":[0.9991726,0.0004268074,0.00001514482,0.00008976456,0.00007795749,0.0002177493],"domain_scores_gemma":[0.9991435,0.0003702308,0.0001295698,0.0000803083,0.00009024803,0.0001860539],"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":[0.00006024916,0.00002177681,0.00119925,0.00006431233,0.000005458869,0.0003505171,0.4826083,0.00006263666,0.0003822394,0.4975178,0.007005595,0.01072196],"study_design_scores_gemma":[0.00002125199,0.00006071741,0.00742587,0.0004192183,0.00002498036,0.0005174789,0.4508569,0.0002061249,0.000619384,0.08258133,0.4572234,0.00004337068],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2685563,0.005300931,0.003369194,0.0172062,0.0006473857,0.00002132018,0.00007392682,0.00004074381,0.7047841],"genre_scores_gemma":[0.9788746,0.0009506166,0.0002518609,0.0005484119,0.0001369901,0.00001124309,0.00002047508,0.00003962002,0.01916611],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02509938,"threshold_uncertainty_score":0.04990661,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4417128413","doi":"10.3828/sfftv.2025.26","title":"<i>The Little Mermaid</i> and little Black girls","year":2025,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Media, Gender, and Advertising","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":"L'Alliance Boviteq","funders":"","keywords":"Black women; Representation (politics); Identity (music); Black female; Consumption (sociology); Black male; Performing arts; Qualitative research","authors":[{"name":"Asha S. Winfield","is_ca":true},{"name":"Sherella Cupid","is_ca":true},{"name":"Meghan S. Sanders","is_ca":true},{"name":"Teairra Z. Evans","is_ca":true},{"name":"D. Butler","is_ca":true},{"name":"Rockia Harris","is_ca":true},{"name":"Tania Smith","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01370067192829558,"gpt":0.3216428482266097,"spread":0.3079421762983141,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009334214,0.0002618014,0.0002474449,0.0005534653,0.007778851,0.00360946,0.0003706766,0.0007198059,0.008003211],"category_scores_gemma":[0.001327473,0.0001875696,0.0001198059,0.0005224506,0.002768185,0.001653717,0.002823442,0.001372476,0.0005168331],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001430626,"about_ca_system_score_gemma":0.001329893,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02474814,"about_ca_topic_score_gemma":0.07392803,"domain_scores_codex":[0.9995562,0.000216658,0.000008081565,0.00004848265,0.00006574964,0.0001047066],"domain_scores_gemma":[0.9994282,0.0001994253,0.0001368972,0.00002488836,0.00004593265,0.0001645454],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000767156,0.0001150352,0.0385995,0.0001375598,0.00001296507,0.0008488562,0.8966646,0.00001456964,0.002449804,0.01987432,0.006096766,0.03510918],"study_design_scores_gemma":[0.000003382382,0.00005149362,0.02700627,0.0001900027,0.00001031427,0.0003575947,0.9121246,0.00001553127,0.0006400816,0.0008602239,0.05873095,0.000009503875],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9437086,0.001414754,0.000147621,0.005417634,0.00008559929,0.00002009969,0.00007944169,0.000006899286,0.0491193],"genre_scores_gemma":[0.9777054,0.001337468,0.0002112921,0.00101774,0.00003652951,0.00004461957,0.00002922597,0.00002061405,0.01959705],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02474814,"threshold_uncertainty_score":0.04920816,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2140575856","doi":"10.1353/sff.0.0082","title":"The perfect panopticon: Rainer Werner Fassbinder's<i>Welt am Draht</i>","year":2009,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Art, Technology, and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Paranoia; Movie theater; Art; Club; Entertainment; Art history; Psychoanalysis; Aesthetics; Literature; Media studies; Psychology; Visual arts; Sociology; Medicine","authors":[{"name":"Florian Leitner","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01467077733811008,"gpt":0.2368804907612262,"spread":0.2222097134231161,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001083967,0.0007006033,0.0003581567,0.0006920829,0.004869369,0.006960367,0.0008561123,0.003777627,0.02299457],"category_scores_gemma":[0.002578431,0.000290975,0.0002537929,0.0004370548,0.005115294,0.007175397,0.006030966,0.007753996,0.007740781],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003042205,"about_ca_system_score_gemma":0.001521992,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.010282,"about_ca_topic_score_gemma":0.02189733,"domain_scores_codex":[0.9989435,0.0003722936,0.00002859906,0.0001557823,0.0003000956,0.0001997326],"domain_scores_gemma":[0.9994124,0.0002071431,0.00004426237,0.0000347778,0.00008848975,0.0002128004],"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":[0.00002613765,0.00001718498,0.0001126601,0.00008681821,0.000002754762,0.0002388821,0.008528454,0.00002203141,0.0002812542,0.05206359,0.9129467,0.02567348],"study_design_scores_gemma":[0.000001508197,0.000004351321,0.00008349479,0.0001184223,7.860143e-7,0.0001716931,0.002398578,0.00001225393,0.00006142345,0.002210394,0.9949325,0.000004629432],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.005265559,0.1430297,0.002039809,0.3922848,0.09357374,0.00004779541,0.0002009881,0.000281284,0.3632765],"genre_scores_gemma":[0.08682219,0.0467125,0.0009496831,0.1188334,0.02514659,0.0001045444,0.0001170326,0.0005950463,0.7207189],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.02299457,"threshold_uncertainty_score":0.0769245,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2894644037","doi":"10.3828/sfftv.2018.14","title":"A symposium on Mary Shelley, <i>Frankenstein</i> and women in sf","year":2018,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Science Education and Perceptions","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Trent University","funders":"","keywords":"Art; Art history; Literature","authors":[{"name":"Stacey Abbott","is_ca":false},{"name":"Sarah Artt","is_ca":false},{"name":"Miranda Butler","is_ca":false},{"name":"Megen de Bruin‐Molé","is_ca":false},{"name":"Jane Donawerth","is_ca":false},{"name":"Susan A. George","is_ca":false},{"name":"Veronica Hollinger","is_ca":true},{"name":"Gwyneth Jones","is_ca":false},{"name":"Antonija Primorac","is_ca":false},{"name":"Sharon Sharp","is_ca":false},{"name":"Rebekah Sheldon","is_ca":false},{"name":"Sara Wasson","is_ca":false},{"name":"Lisa Yaszek","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02529272829458657,"gpt":0.3308250488302152,"spread":0.3055323205356286,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00496714,0.001300521,0.0009099048,0.001190871,0.01954093,0.008722951,0.001642448,0.0179775,0.01978803],"category_scores_gemma":[0.01038637,0.0007535144,0.001071892,0.0008103676,0.007055937,0.008922736,0.008566131,0.02792049,0.003853939],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006088235,"about_ca_system_score_gemma":0.01072991,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02878823,"about_ca_topic_score_gemma":0.09605805,"domain_scores_codex":[0.9970426,0.001037324,0.0001050717,0.0003203432,0.0006297452,0.0008648995],"domain_scores_gemma":[0.9915984,0.002223401,0.0002701947,0.0001763302,0.001113012,0.004618644],"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":[0.00001576744,0.00002464965,0.00009662285,0.00005710598,0.000003103121,0.00008699005,0.00332168,0.000004994935,0.00009956297,0.003375894,0.9872385,0.005675211],"study_design_scores_gemma":[0.000006705222,0.00001177682,0.0003356894,0.0001930732,0.000003466711,0.00006293812,0.007148596,0.000004135079,0.00003409895,0.001168504,0.9910222,0.000008945913],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.0009053005,0.02818504,0.00009395362,0.8400108,0.1218766,0.00002085952,0.00003870612,0.00001692726,0.008851917],"genre_scores_gemma":[0.02045314,0.02089809,0.0003130532,0.7059351,0.08268444,0.000117402,0.00005762354,0.0001245417,0.1694166],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.02878823,"threshold_uncertainty_score":0.06619757,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1585402890","doi":"","title":"The Artist as Monster: The Cinema of David Cronenberg (review)","year":2009,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Monster; Movie theater; Order (exchange); Art history; Art; Dracula; Sociology; History","authors":[{"name":"Michael Grant","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01778525216049897,"gpt":0.2555016790671187,"spread":0.2377164269066197,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002028944,0.001359003,0.001399187,0.003361629,0.001232704,0.005079232,0.00173865,0.003145157,0.008571126],"category_scores_gemma":[0.006142448,0.0005875169,0.0006584652,0.004607107,0.002271989,0.004468448,0.001648149,0.004866006,0.002427358],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004118821,"about_ca_system_score_gemma":0.005544185,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01921359,"about_ca_topic_score_gemma":0.02641638,"domain_scores_codex":[0.9989931,0.0003244327,0.00009188877,0.0001505067,0.0003273829,0.00011265],"domain_scores_gemma":[0.997333,0.00127939,0.0003665414,0.00005868079,0.0005657398,0.0003967072],"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":[0.00006973706,0.00003716902,0.0002206639,0.01824914,0.00008237725,0.0001602606,0.001173968,0.00006533334,0.000127441,0.004297466,0.731671,0.2438454],"study_design_scores_gemma":[0.00001875608,0.00002518478,0.001200961,0.02219441,0.00006225564,0.0006113561,0.0007231256,0.00002156709,0.00003986017,0.000742223,0.9743424,0.00001772812],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00002359937,0.9954118,0.000006988286,0.002913431,0.001155038,0.00000153573,0.000003455489,0.000001064716,0.0004831287],"genre_scores_gemma":[0.000831495,0.9916838,0.00003000006,0.00390402,0.002575232,0.000009847881,0.00001354365,0.000003425672,0.0009485639],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01921359,"threshold_uncertainty_score":0.03820348,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2016204125","doi":"10.3828/sfftv.2010.5","title":"<i>Moonbase 3</i> and the limitations of reality in <i>Apollo</i> -era television sf","year":2010,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Space exploration and regulation","field":"Physics and Astronomy","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":"National Aeronautics and Space Administration","keywords":"Apollo; Fantasy; Drama; Character (mathematics); Narrative; Moon landing; History; Media studies; Art history; Literature; Art; Sociology","authors":[{"name":"Dave Rolinson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02526700708164034,"gpt":0.2690227187045357,"spread":0.2437557116228954,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001255043,0.0003211903,0.0002057734,0.0011529,0.006426613,0.01146574,0.0007075486,0.001534303,0.01242756],"category_scores_gemma":[0.003050063,0.0002206939,0.000219581,0.001212506,0.009659185,0.004919286,0.004727822,0.003153885,0.001196772],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008011115,"about_ca_system_score_gemma":0.001699804,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05299651,"about_ca_topic_score_gemma":0.07245924,"domain_scores_codex":[0.9986203,0.0004984774,0.00003492256,0.0001264234,0.0003314713,0.0003885294],"domain_scores_gemma":[0.998936,0.000421408,0.0001028023,0.0000826795,0.0001593393,0.0002978057],"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":[0.000350286,0.00003874568,0.003640145,0.0002594269,0.00001535758,0.001522652,0.4148501,0.0002843989,0.002010142,0.3694149,0.1474555,0.06015827],"study_design_scores_gemma":[0.0000127633,0.00004089938,0.006027274,0.0003070202,0.000007248227,0.0005486899,0.09471424,0.0001367382,0.0004356102,0.009465599,0.8882752,0.00002867998],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1732101,0.01075288,0.002633983,0.04090326,0.001677994,0.00002071868,0.0002988335,0.0001868152,0.7703153],"genre_scores_gemma":[0.9419013,0.002281714,0.0005579093,0.003434481,0.0006858888,0.00002230611,0.0001477374,0.000215935,0.05075265],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.05299651,"threshold_uncertainty_score":0.1053761,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2027760732","doi":"10.3828/sfftv.2013.22","title":"Introduction","year":2013,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Gothic Literature and Media Analysis","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":"Art","authors":[{"name":"Ewan Kirkland","is_ca":false},{"name":"Aybige Yilmaz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008919372096104357,"gpt":0.2756806932251851,"spread":0.2667613211290807,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001272208,0.001203548,0.001121373,0.001717734,0.001846523,0.008743503,0.00196756,0.004136173,0.5980247],"category_scores_gemma":[0.005817494,0.0004233525,0.0009803986,0.00132609,0.0008298443,0.004593575,0.003754964,0.003435483,0.4321633],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001405972,"about_ca_system_score_gemma":0.003038887,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001102237,"about_ca_topic_score_gemma":0.001704209,"domain_scores_codex":[0.998324,0.0001583319,0.0001311196,0.0003595488,0.0008114504,0.0002156077],"domain_scores_gemma":[0.9969919,0.0003803173,0.0001391096,0.0003148243,0.001185378,0.0009885459],"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":[0.00001635223,0.00002335684,0.0001113216,0.0001443621,0.00000285035,0.00006111446,0.00004482223,0.00001573395,0.00011276,0.002264316,0.9519033,0.04529967],"study_design_scores_gemma":[0.000002916351,0.000007642849,0.0001513168,0.0000791671,0.000001135393,0.00005465159,0.00003699484,0.000008103959,0.00002297989,0.00044287,0.9991898,0.000002445327],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"editorial","genre_scores_codex":[0.0007248188,0.01265262,0.0009478705,0.03670756,0.350212,0.0002463909,0.002695815,0.000874235,0.5949387],"genre_scores_gemma":[0.002418092,0.007472726,0.0005304975,0.01193563,0.07523318,0.0001342456,0.002317368,0.0004825603,0.8994756],"genre_candidate":"editorial","genre_consensus":null,"teacher_disagreement_score":0.5980247,"threshold_uncertainty_score":0.5733689,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2023708141","doi":"10.3828/sfftv.2013.26","title":"The popularity of time travel in contemporary media","year":2013,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Asian Culture and Media Studies","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":"Popularity; Consumerism; Narrative; Aesthetics; Time travel; Ideology; Trope (literature); Popular culture; Individualism; Sociology; Identity (music); Media studies; Advertising; Politics; Art; Psychology; Social psychology; Literature; Political science; Law; Computer science","authors":[{"name":"Aybige Yilmaz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03114146967319792,"gpt":0.3016482418505062,"spread":0.2705067721773083,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001549282,0.0002657358,0.0002453334,0.00312124,0.004245724,0.008860373,0.0005576201,0.001024294,0.007517686],"category_scores_gemma":[0.005454712,0.0002167225,0.0001666405,0.004622378,0.005209091,0.004652093,0.002919545,0.001511972,0.0004624171],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002352315,"about_ca_system_score_gemma":0.001100501,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0160513,"about_ca_topic_score_gemma":0.02491155,"domain_scores_codex":[0.9987009,0.0004708895,0.00004923887,0.0001648873,0.0004356474,0.0001784842],"domain_scores_gemma":[0.9942379,0.003023892,0.0009532824,0.000435611,0.000845739,0.0005035701],"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":[0.0003407936,0.00005405241,0.04313203,0.0009718338,0.00009448211,0.002879325,0.6165802,0.000276375,0.006675215,0.1567227,0.02221764,0.1500553],"study_design_scores_gemma":[0.0000146891,0.0001539267,0.07601438,0.0007266794,0.00008038312,0.004340264,0.363065,0.000468465,0.002776197,0.004433363,0.5478435,0.00008324705],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7717267,0.008841959,0.001511926,0.01009601,0.0006354255,0.00002248711,0.0004008591,0.00009499118,0.2066696],"genre_scores_gemma":[0.9898094,0.002896526,0.0002295072,0.0004537963,0.0004715927,0.000009938571,0.00006532762,0.0000570787,0.006006727],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0160513,"threshold_uncertainty_score":0.03191572,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2140869822","doi":"","title":"Stereo/Crimes of the Future (review)","year":2008,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Gothic Literature and Media Analysis","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":"Narrative; Fantasy; Dystopia; Feature film; Perspective (graphical); Art; Reputation; Art history; Aesthetics; History; Visual arts; Literature; Law; Political science; Movie theater","authors":[{"name":"Stacey Abbott","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01488317046211697,"gpt":0.2914641766553049,"spread":0.2765810061931879,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007559338,0.000867711,0.001139494,0.004111179,0.0007370812,0.002475762,0.00154716,0.00161097,0.03049137],"category_scores_gemma":[0.003477675,0.000398658,0.0008046125,0.006105199,0.00094367,0.001909112,0.0009182973,0.002197576,0.004632507],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002491947,"about_ca_system_score_gemma":0.007631748,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03550199,"about_ca_topic_score_gemma":0.05974337,"domain_scores_codex":[0.9994325,0.00008769301,0.00007199149,0.00007563143,0.0002439192,0.00008832492],"domain_scores_gemma":[0.9983007,0.0006499607,0.0003322661,0.00003503522,0.0005065332,0.0001755002],"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":[0.0000598271,0.00004718247,0.0005766994,0.04315295,0.0001111373,0.0002134688,0.0001687823,0.0001066763,0.00006097771,0.001988059,0.369394,0.5841202],"study_design_scores_gemma":[0.00002830388,0.00003998322,0.004299651,0.0696241,0.0002010877,0.00144446,0.0003576798,0.00002522805,0.00004895334,0.0007407274,0.9231673,0.00002251041],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00004747963,0.996641,0.0000103361,0.0007914648,0.0003694118,0.000005736202,0.00007761565,0.000003815363,0.002053061],"genre_scores_gemma":[0.0007003423,0.9975002,0.00002038838,0.0007122189,0.0002886712,0.000006764111,0.00008901459,0.000001756864,0.0006806311],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.03550199,"threshold_uncertainty_score":0.1020038,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W374693296","doi":"","title":"From Starship Captains to Galactic Rebels: Leaders in Science Fiction Television by Kimberly Yost (review)","year":2015,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Utopian, Dystopian, and Speculative Fiction","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":"The Imaginary; Narrative; Politics; Normative; Media studies; Sociology; Human rights; Law; Political science; Literature; Art; Psychology; Psychoanalysis","authors":[{"name":"Katie Moylan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06656514818650923,"gpt":0.3024693547138617,"spread":0.2359042065273525,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002022361,0.0008866049,0.001028679,0.00221919,0.0006548657,0.00323206,0.001415629,0.0027532,0.0123458],"category_scores_gemma":[0.008045908,0.0004953166,0.0007551123,0.002539155,0.001143955,0.003882905,0.001712778,0.004216217,0.005063187],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001968178,"about_ca_system_score_gemma":0.002794301,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007052761,"about_ca_topic_score_gemma":0.01298766,"domain_scores_codex":[0.9989461,0.0004675213,0.00009447075,0.0001123755,0.0002887485,0.00009076564],"domain_scores_gemma":[0.9960097,0.002310336,0.0005699645,0.00004270926,0.0007350031,0.0003323513],"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":[0.00004938193,0.00002147639,0.0001294105,0.01344921,0.00005699588,0.00004610872,0.000390728,0.00005252049,0.00005719686,0.001302008,0.7723467,0.2120981],"study_design_scores_gemma":[0.00004625799,0.00005618685,0.0009478833,0.03202327,0.00009529127,0.0002466694,0.0005434081,0.0000320403,0.00005136163,0.0005850224,0.9653481,0.00002462988],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00005232942,0.9866192,0.00002127475,0.00983223,0.002661439,0.000009595017,0.0000215071,0.000005293533,0.0007772243],"genre_scores_gemma":[0.001088826,0.9789787,0.00005357733,0.01357795,0.003841584,0.00005419576,0.00005342213,0.000009149408,0.002342637],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.0123458,"threshold_uncertainty_score":0.04130077,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}