{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":11,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":11,"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":"42362b917ac4","filters":{"venue":"Studies in European Cinema"}},"results":[{"id":"W2309231232","doi":"10.1080/17411548.2015.1115696","title":"Queer European Cinema: queering cinematic time and space","year":2015,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"European history and politics","field":"Social Sciences","cited_by":42,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dawson College","funders":"","keywords":"Queer; Movie theater; Art; Space (punctuation); Art history; Visual arts; Aesthetics; Sociology; Gender studies; Computer science","authors":[{"name":"Leanne Dawson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08639491617665208,"gpt":0.3361779259389591,"spread":0.249783009762307,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002988963,0.0003263082,0.0002300551,0.001264753,0.005850444,0.01133957,0.0005162123,0.002227333,0.01287211],"category_scores_gemma":[0.006136809,0.0001341041,0.0001805549,0.001175931,0.01372461,0.01088769,0.002742759,0.002030934,0.0006338445],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003536335,"about_ca_system_score_gemma":0.001659361,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01001473,"about_ca_topic_score_gemma":0.01616529,"domain_scores_codex":[0.9983821,0.001100737,0.00003158732,0.0001328568,0.0001247871,0.0002280747],"domain_scores_gemma":[0.9972935,0.001567993,0.0002760804,0.0002072422,0.0003094709,0.0003456593],"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":[0.00002465522,0.000009880677,0.0004423291,0.00005926009,0.000004945583,0.00008701877,0.07597919,0.00007328343,0.0002030064,0.8897981,0.01572301,0.01759544],"study_design_scores_gemma":[0.000009758965,0.00002460743,0.002317403,0.0004435089,0.00001224324,0.0003041821,0.07672987,0.0002401596,0.0005485085,0.1025215,0.8168278,0.00002036089],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.06997564,0.03266851,0.01049699,0.05346435,0.001590211,0.00002654174,0.0001224988,0.00011215,0.8315432],"genre_scores_gemma":[0.9395221,0.008269044,0.001374792,0.00339765,0.0007826397,0.00001942492,0.00004652559,0.00008784977,0.04649999],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01287211,"threshold_uncertainty_score":0.04306144,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2989336491","doi":"10.1080/17411548.2019.1686893","title":"World cinema at Soviet festivals: cultural diplomacy and personal ties","year":2019,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"French Historical and Cultural Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Diplomacy; Hollywood; Militant; National cinema; Latin Americans; Film industry; Media studies; State (computer science); Political science; Sociology; History; Art history; Law; Politics","authors":[{"name":"Elena Razlogova","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08685272062193136,"gpt":0.2830264572554146,"spread":0.1961737366334833,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002100586,0.0002560464,0.0001758267,0.003430947,0.007687684,0.007953371,0.0004689867,0.0005547334,0.005154906],"category_scores_gemma":[0.005117901,0.0002065038,0.0001208614,0.001930569,0.007117859,0.004396031,0.004806175,0.001071123,0.0003438123],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00245496,"about_ca_system_score_gemma":0.00101657,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009535168,"about_ca_topic_score_gemma":0.0142909,"domain_scores_codex":[0.9983039,0.001009368,0.00004479122,0.0001641601,0.0001483152,0.0003295388],"domain_scores_gemma":[0.9975073,0.0009931502,0.0004578614,0.0001707817,0.0002237791,0.0006472451],"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":[0.0000780323,0.00006591678,0.05363818,0.00007252644,0.00002109785,0.0005384709,0.8681622,0.00009014019,0.00074707,0.04126482,0.002065641,0.033256],"study_design_scores_gemma":[0.000009457446,0.0000682175,0.1141615,0.0002403423,0.00001603313,0.0004633462,0.7957566,0.0001435311,0.0004328137,0.003317637,0.08537049,0.00002000525],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8781863,0.001372457,0.001530427,0.0008892996,0.00008066101,0.00003174273,0.00006688825,0.00002905023,0.1178132],"genre_scores_gemma":[0.9965785,0.0003009288,0.0001152801,0.00003765446,0.00001749766,0.000009540359,0.00002150796,0.0000101406,0.002908941],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.009535168,"threshold_uncertainty_score":0.01895934,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2986537958","doi":"10.1080/17411548.2019.1686860","title":"Means streets and bloody shores: toward a spatial theory of the Mediterranean noir","year":2019,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Art history; Modernity; Filmmaking; Art; Brother; Performance art; History; Cartography; Movie theater; Geography; Sociology; Philosophy; Anthropology","authors":[{"name":"Alberto Zambenedetti","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04541977593651492,"gpt":0.3062081571782874,"spread":0.2607883812417724,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008364652,0.000577007,0.0003389702,0.002038969,0.005403675,0.008832961,0.001179674,0.001532757,0.006388173],"category_scores_gemma":[0.00159655,0.0003463617,0.0004748474,0.002011423,0.02149264,0.007658732,0.003819667,0.001228607,0.0006770093],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004595981,"about_ca_system_score_gemma":0.001335728,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02333786,"about_ca_topic_score_gemma":0.02625258,"domain_scores_codex":[0.999116,0.0004942589,0.00002145937,0.0001443655,0.00009907546,0.0001248789],"domain_scores_gemma":[0.9995484,0.0001630983,0.00006859541,0.00007077334,0.00009300062,0.00005612286],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000007952475,0.000003725118,0.0005063444,0.00002550976,0.000002157072,0.00004987633,0.01687005,0.000125751,0.00003633872,0.9781029,0.001067761,0.003201651],"study_design_scores_gemma":[0.00002320856,0.00003095613,0.003686551,0.0002442482,0.00002054187,0.0003092439,0.07896645,0.001703853,0.000194015,0.64162,0.273178,0.0000227986],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07990663,0.00696122,0.027941,0.01040887,0.0003301127,0.00003997347,0.0001551006,0.00007778157,0.8741792],"genre_scores_gemma":[0.9697963,0.001726515,0.005692181,0.0005030662,0.0001182948,0.00004146522,0.00006581165,0.00005582769,0.02200052],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02333786,"threshold_uncertainty_score":0.04640406,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2014495193","doi":"10.1386/seci.4.2.125_1","title":"Through the I of the camera: Women and autobiography in contemporary European film","year":2007,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Biography; Narrative; Identity (music); Phenomenon; Aesthetics; Quarter (Canadian coin); Order (exchange); History; Sociology; Literature; Art; Epistemology; Philosophy","authors":[{"name":"Wendy Everett","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0495101986603914,"gpt":0.3199297192716939,"spread":0.2704195206113025,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001512543,0.0004217882,0.0002576067,0.001596265,0.003848769,0.005318558,0.0004076914,0.001386958,0.004948983],"category_scores_gemma":[0.004476754,0.0002055358,0.0001423585,0.001514424,0.006537812,0.002969162,0.002304544,0.0012568,0.0003494779],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00176499,"about_ca_system_score_gemma":0.0004689579,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004822821,"about_ca_topic_score_gemma":0.009560822,"domain_scores_codex":[0.9989396,0.0007088856,0.00002789806,0.0001061305,0.00008182245,0.0001357405],"domain_scores_gemma":[0.9983499,0.0009483819,0.0003150659,0.0001317016,0.0001120763,0.0001428797],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007662501,0.00003107802,0.005380634,0.0001261064,0.00001351509,0.001370398,0.9569501,0.00003301713,0.001233732,0.01735149,0.003805322,0.01362803],"study_design_scores_gemma":[0.000009509709,0.00006363712,0.02645264,0.0005727276,0.00002297397,0.002309754,0.7393733,0.0001363211,0.001131503,0.001885572,0.2280163,0.00002586223],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7871553,0.008991871,0.001187076,0.005924891,0.0003907534,0.00003286497,0.0001152956,0.00004986756,0.196152],"genre_scores_gemma":[0.9854487,0.001476146,0.0001605565,0.0004608444,0.0001275154,0.000008647455,0.00002051211,0.00002115347,0.01227609],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.005318558,"threshold_uncertainty_score":0.01655596,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2326874311","doi":"10.1080/17411548.2016.1140491","title":"Team Snow Queen: feminist cinematic ‘misinterpretations’ of a fairy tale","year":2016,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Folklore, Mythology, and Literature Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Winnipeg","funders":"","keywords":"Queen (butterfly); Snow; Beauty; Art; Narrative; Gesture; Art history; Literature; Aesthetics; Philosophy; Geography; Meteorology; Linguistics","authors":[{"name":"Pauline Greenhill","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03464706287278384,"gpt":0.2842210758685187,"spread":0.2495740129957348,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003368203,0.0006655742,0.0003068296,0.001067877,0.009300004,0.008348425,0.0009242873,0.002091183,0.003566106],"category_scores_gemma":[0.006126418,0.0004486157,0.0002690007,0.0007405501,0.01866956,0.004207297,0.004257968,0.00324456,0.0003749809],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005827486,"about_ca_system_score_gemma":0.00110598,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02591699,"about_ca_topic_score_gemma":0.05544368,"domain_scores_codex":[0.9965911,0.002243984,0.00005446617,0.0003249225,0.0003482892,0.0004373019],"domain_scores_gemma":[0.99691,0.002223336,0.0002280457,0.00022066,0.0002275996,0.0001903878],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004574607,0.000008645268,0.000895242,0.00004829279,0.000007309892,0.001200178,0.9521273,0.00006498629,0.0007268045,0.03580793,0.005542613,0.003524996],"study_design_scores_gemma":[0.0000130654,0.00002965377,0.003782543,0.0002343482,0.00001883013,0.001416292,0.7349354,0.0003547784,0.001024256,0.003687615,0.2544731,0.00003001746],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6938974,0.004137335,0.004567464,0.02444338,0.001179711,0.00004772275,0.0001598822,0.000144944,0.2714221],"genre_scores_gemma":[0.9833983,0.0004946546,0.0004798814,0.0009673781,0.0001203748,0.00001154424,0.00002915979,0.00008298213,0.01441565],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02591699,"threshold_uncertainty_score":0.05153227,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2997548104","doi":"10.1080/17411548.2019.1708037","title":"<i>Boy 7</i> in double exposure: European genre cinema between transnational industry practices and national consumption","year":2019,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Digital Games and Media","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Movie theater; Appeal; German; Film industry; Consumption (sociology); National cinema; Film studies; Audience measurement; Media studies; Sociology; Aesthetics; Advertising; Political science; Visual arts; Law; Art; History; Business","authors":[{"name":"Gabriele Mueller","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1332670335763448,"gpt":0.3912630081900709,"spread":0.257995974613726,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001794479,0.0002849928,0.0002019751,0.0006050942,0.00386806,0.005185963,0.0004295392,0.0009171439,0.005748202],"category_scores_gemma":[0.002045366,0.0001653891,0.0001873848,0.0006508466,0.005575236,0.003732109,0.003104058,0.001693089,0.0004581703],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001695886,"about_ca_system_score_gemma":0.000520177,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003832755,"about_ca_topic_score_gemma":0.008854199,"domain_scores_codex":[0.9987242,0.0008120068,0.00003317257,0.0001550223,0.0001191978,0.0001564366],"domain_scores_gemma":[0.9992371,0.0003322614,0.0001628054,0.00006289907,0.00008118324,0.0001237535],"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":[0.0002626417,0.0001077445,0.008498963,0.0002888208,0.00003772687,0.003946028,0.7260557,0.0001299053,0.00445272,0.2030099,0.01845797,0.0347518],"study_design_scores_gemma":[0.00001869785,0.0001362968,0.02609414,0.0004742998,0.00002995031,0.004346169,0.4025647,0.0002219715,0.003319506,0.004232784,0.5585209,0.0000406508],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6890615,0.004519416,0.002855261,0.00667616,0.0005557169,0.00003483033,0.00008380563,0.00003899971,0.2961744],"genre_scores_gemma":[0.9802142,0.001266349,0.0006025097,0.0005203324,0.00009830224,0.00001558964,0.0000359582,0.0000664826,0.01718032],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.005748202,"threshold_uncertainty_score":0.01922971,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1676116893","doi":"10.1080/17411548.2015.1037572","title":"Onscreen and off-screen flesh and blood: performance, affect and ethics in Catherine Breillat’s films","year":2015,"lang":"en","type":"article","venue":"Studies in European Cinema","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":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Trent University","funders":"","keywords":"Performative utterance; Movie theater; Affect (linguistics); Reflexivity; Comedy; Patriarchy; Aesthetics; Situational ethics; Film studies; Art; Flesh; Sociology; Literature; Psychoanalysis; Psychology; Gender studies; Social psychology","authors":[{"name":"Troy Michael Bordun","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1257841256897986,"gpt":0.293303221438022,"spread":0.1675190957482234,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002490957,0.0006317397,0.0003626638,0.001008013,0.01168627,0.009605482,0.0007998522,0.003178907,0.003197247],"category_scores_gemma":[0.01028242,0.000409784,0.0002685548,0.0005873921,0.01577466,0.0036588,0.004163703,0.005792434,0.0004712658],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004129528,"about_ca_system_score_gemma":0.0007721499,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02135883,"about_ca_topic_score_gemma":0.02949121,"domain_scores_codex":[0.9951892,0.003509176,0.00004868371,0.0002909524,0.0005697169,0.0003922989],"domain_scores_gemma":[0.9968163,0.001988926,0.0003903378,0.0001703863,0.0002670994,0.0003668691],"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":[0.0000894193,0.00003910477,0.001609256,0.00009780598,0.00001838461,0.001558081,0.9528073,0.00009447992,0.003544287,0.02620897,0.00738616,0.00654674],"study_design_scores_gemma":[0.00001550268,0.000125387,0.01345325,0.0004200487,0.00001977298,0.002629747,0.6900622,0.0001922723,0.001844124,0.003641563,0.2874887,0.0001075685],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7690575,0.00601611,0.002132359,0.02759682,0.0007076795,0.0000605433,0.0001007612,0.00009999872,0.1942283],"genre_scores_gemma":[0.9821352,0.0008195178,0.0006250872,0.001901162,0.0001939421,0.0000286957,0.0000251477,0.00008072236,0.01419066],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02135883,"threshold_uncertainty_score":0.04246902,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4229020196","doi":"10.1080/17411548.2022.2073778","title":"Godard and the Essay Film: A Form That Thinks <b>Godard and the Essay Film: A Form That Thinks</b> , by Rick Warner, Evanston, Northwestern University Press, 2018, 288 pp., US$34.95 (paperback), ISBN 978-0-8101-3737-0","year":2022,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Philosophy, Ethics, and Existentialism","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":"University of British Columbia","funders":"","keywords":"Art; Aesthetics; Art history","authors":[{"name":"William Brown","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04314861136577705,"gpt":0.2377701072307666,"spread":0.1946214958649896,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001686763,0.0005650847,0.0003248165,0.001050515,0.004040356,0.01067756,0.000707988,0.002356705,0.01706421],"category_scores_gemma":[0.005237388,0.0003141895,0.0001845469,0.001062807,0.007497367,0.01181631,0.003266274,0.003247689,0.003091638],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001796485,"about_ca_system_score_gemma":0.001684809,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00557174,"about_ca_topic_score_gemma":0.01098848,"domain_scores_codex":[0.9988632,0.0007033146,0.00004600893,0.00009850234,0.0002082802,0.00008077014],"domain_scores_gemma":[0.9983855,0.0007692806,0.0001350466,0.0001148997,0.0002017827,0.0003934268],"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":[0.00004070548,0.00002762705,0.0003147212,0.0003897151,0.0000072092,0.0001757401,0.03377198,0.00003013405,0.0003535271,0.1407389,0.7546541,0.06949566],"study_design_scores_gemma":[0.000003925943,0.000007562533,0.000448381,0.0004279802,0.000002889271,0.0001674652,0.01081949,0.0000202403,0.0001083511,0.007049366,0.9809378,0.000006636865],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"review","genre_scores_codex":[0.009995719,0.1919207,0.002722026,0.2410254,0.02686793,0.00004901196,0.0001795805,0.0002362681,0.5270034],"genre_scores_gemma":[0.2872121,0.09842108,0.004297206,0.03583579,0.01843809,0.0001733482,0.0002909664,0.0006669383,0.5546644],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.01706421,"threshold_uncertainty_score":0.05708545,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2087264559","doi":"10.1386/seci.7.3.221_1","title":"Representing the un(re)presentable: Homosexuality in Luchino Visconti's &lt;I&gt;Rocco and His Brothers&lt;/I&gt;","year":2010,"lang":"en","type":"article","venue":"Studies in European Cinema","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":"McGill University","funders":"","keywords":"Homosexuality; Art; Representation (politics); Male Homosexuality; Art history; Psychoanalysis; Psychology; Medicine; Law; Human immunodeficiency virus (HIV); Political science","authors":[{"name":"Eugenio Bolongaro","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03324765282665272,"gpt":0.3209267177941535,"spread":0.2876790649675008,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001218097,0.0003573079,0.0001406717,0.0005219215,0.005064847,0.003997452,0.0002958237,0.001060584,0.002711886],"category_scores_gemma":[0.001668534,0.0001482705,0.0001012722,0.0004644062,0.007797337,0.00161346,0.001650671,0.002572735,0.0002206131],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003036458,"about_ca_system_score_gemma":0.0007122362,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01653374,"about_ca_topic_score_gemma":0.04955098,"domain_scores_codex":[0.9993078,0.0004671257,0.000007219277,0.00004650119,0.00007035273,0.0001009972],"domain_scores_gemma":[0.9994599,0.0002909141,0.0000843566,0.00003668989,0.00003191517,0.00009621872],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00008694159,0.00002614414,0.001729855,0.0001633756,0.00001009319,0.0006942796,0.5896896,0.00005695085,0.001620283,0.2694386,0.107975,0.02850883],"study_design_scores_gemma":[0.00001085412,0.000030017,0.01118664,0.000378364,0.00001627249,0.0008246877,0.119332,0.00009586605,0.0007461902,0.005689569,0.8616619,0.00002765717],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1935134,0.01563759,0.0006920537,0.09338936,0.002255984,0.00002372542,0.0000693058,0.00005390653,0.6943647],"genre_scores_gemma":[0.9546328,0.002671744,0.0001871191,0.004227981,0.0006200076,0.00001458614,0.00001481702,0.00004174882,0.03758932],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01653374,"threshold_uncertainty_score":0.032875,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4387974186","doi":"10.1080/17411548.2023.2264602","title":"Sublime aesthetics in Philippe Grandrieux’s <i>Un lac</i>","year":2023,"lang":"en","type":"article","venue":"Studies in European Cinema","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":"Concordia University; University of Northern British Columbia","funders":"","keywords":"Sublime; Movie theater; Aesthetics; Narrative; Film theory; Filmmaking; Art; Aestheticism; Anthropocentrism; Reverence; Philosophy; Art history; Literature; Epistemology","authors":[{"name":"Troy Michael Bordun","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0851761046448577,"gpt":0.2765365496358969,"spread":0.1913604449910392,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001764794,0.0003929334,0.0001447558,0.0007553689,0.003070095,0.009665455,0.0005329954,0.001082407,0.005114083],"category_scores_gemma":[0.004094925,0.0001518508,0.0001757937,0.00061919,0.01151583,0.003453102,0.002089313,0.001992,0.000313687],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005364154,"about_ca_system_score_gemma":0.0009037003,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01078255,"about_ca_topic_score_gemma":0.01104996,"domain_scores_codex":[0.9983908,0.001144245,0.00001758336,0.0001676812,0.0001646011,0.0001151263],"domain_scores_gemma":[0.9983777,0.001091617,0.000129339,0.0001028479,0.0001797489,0.0001187105],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00003199077,0.00001658267,0.0007058539,0.00006961176,0.000004546582,0.0003253629,0.0792836,0.0001861705,0.0003251514,0.8982652,0.01042179,0.01036418],"study_design_scores_gemma":[0.00001345542,0.00004781051,0.005041039,0.0002241848,0.00001151899,0.0009269161,0.05332714,0.001666739,0.0007250734,0.09736864,0.8406049,0.00004253644],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1755327,0.007633158,0.02145858,0.04452574,0.0007349132,0.00004918477,0.0001146412,0.0002780134,0.7496731],"genre_scores_gemma":[0.9675838,0.0009012297,0.001615743,0.0009823041,0.00019855,0.00002566456,0.0000179495,0.00008335644,0.02859135],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01078255,"threshold_uncertainty_score":0.03891981,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4391926783","doi":"10.1080/17411548.2024.2319876","title":"Black Film British Cinema II","year":2024,"lang":"en","type":"article","venue":"Studies in European Cinema","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":"University of British Columbia","funders":"","keywords":"Movie theater; Art history; Art","authors":[{"name":"William Brown","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05827815618959307,"gpt":0.2700893222185758,"spread":0.2118111660289828,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008352307,0.0005143905,0.0002794146,0.001668786,0.002654009,0.005531192,0.0004127345,0.001056426,0.08829942],"category_scores_gemma":[0.003381777,0.000286507,0.0002199689,0.001609278,0.0009964197,0.001698816,0.0009783132,0.00184317,0.01339519],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003947223,"about_ca_system_score_gemma":0.002500094,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1002562,"about_ca_topic_score_gemma":0.1613299,"domain_scores_codex":[0.9993856,0.0001285429,0.00001751855,0.0001025124,0.0002443967,0.0001214427],"domain_scores_gemma":[0.9985972,0.0002963074,0.00007366845,0.0000718984,0.0006308589,0.0003300801],"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":[0.0000585735,0.00001718948,0.0002968588,0.0001175977,0.000005166543,0.00007646998,0.00131711,0.00005832306,0.000351637,0.02882816,0.9234296,0.04544336],"study_design_scores_gemma":[0.000002376345,0.000007350036,0.001523414,0.0001052507,0.000001894148,0.00004287502,0.0005578726,0.00003253691,0.0001149316,0.0009083496,0.9966975,0.000005595336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.008344862,0.0423745,0.00101561,0.03495239,0.01761994,0.00008156915,0.00234244,0.0001654489,0.8931032],"genre_scores_gemma":[0.04703624,0.01169564,0.0006203287,0.004405456,0.002404195,0.00005631459,0.0009577238,0.0001892715,0.9326347],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1002562,"threshold_uncertainty_score":0.295391,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}