{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":7,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":7,"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":"ad2b775e4960","filters":{"venue":"Studies in French Cinema"}},"results":[{"id":"W1965026344","doi":"10.1386/sfc.11.2.111_1","title":"Processions of trauma in <i>Hiroshima mon amour</i> : Towards an ethics of representation","year":2011,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Memory, Trauma, and Commemoration","field":"Psychology","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Representation (politics); Art; Art history; Psychology; Political science; Law","authors":[{"name":"Nina Varsava","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2601439284991489,"gpt":0.4459913159437796,"spread":0.1858473874446306,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007446903,0.0001412183,0.0003938162,0.000228239,0.00004528684,0.000002366516,0.0002104048,0.0001601561,0.0001564375],"category_scores_gemma":[0.0003596533,0.0001266886,0.0000458941,0.0005255663,0.0002370734,0.0001231897,0.00004876807,0.0003167817,0.000003413612],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002693937,"about_ca_system_score_gemma":0.00004360893,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002325502,"about_ca_topic_score_gemma":0.00730189,"domain_scores_codex":[0.99831,0.000311882,0.0006407708,0.0003051762,0.0002319836,0.0002001506],"domain_scores_gemma":[0.9989224,0.0001437368,0.0002452308,0.0004211009,0.0002326602,0.00003489208],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0002575821,0.002267994,0.3601187,0.0005800906,0.0001318565,0.00003381569,0.5785411,0.00004877086,0.002009172,0.006146866,0.00305717,0.04680681],"study_design_scores_gemma":[0.001757839,0.0007060398,0.9020579,0.0002762436,0.00003767482,0.000004638569,0.06899576,0.00006464868,0.01408769,0.01173696,0.00006775058,0.0002068766],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.936164,0.001514458,0.0001226794,0.0001855688,0.0005617626,0.0003091013,0.000009475313,0.0000207018,0.06111225],"genre_scores_gemma":[0.9982312,0.0001752594,0.0009840853,0.00006243745,0.00005643152,0.00009935239,0.00001135386,0.00001231199,0.0003675435],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5419391,"threshold_uncertainty_score":0.5166213,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2329677738","doi":"10.1386/sfc.11.1.57_1","title":"The ‘ghost image’ of horror and pornography in Michael Haneke's <i>La Pianiste</i> (2001)","year":2011,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","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 Alberta","funders":"","keywords":"Pornography; Art; Visual arts; Psychology; Psychoanalysis","authors":[{"name":"Anna Gural-Migdal","is_ca":true},{"name":"Romain Chareyron","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06149506186766177,"gpt":0.2589670863267221,"spread":0.1974720244590603,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009068677,0.0001804488,0.0005790161,0.0002676327,0.0001190683,0.00001034286,0.0001804103,0.00005751904,0.0000266074],"category_scores_gemma":[0.0005993447,0.0001483029,0.00007268714,0.0004937077,0.0007380132,0.00008176631,0.0001925103,0.0001799258,0.00001407754],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002633781,"about_ca_system_score_gemma":0.00001071459,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009272085,"about_ca_topic_score_gemma":0.004592862,"domain_scores_codex":[0.9985844,0.00002885317,0.0006699478,0.000316956,0.00004011506,0.0003596638],"domain_scores_gemma":[0.9990807,0.0003151579,0.0002330719,0.0002758858,0.000054035,0.00004117752],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00004087898,0.0002174223,0.9136965,0.000242387,0.000224166,0.00004932266,0.03074394,4.297443e-7,0.00006003547,0.02730148,0.02552612,0.001897373],"study_design_scores_gemma":[0.00240508,0.0003218791,0.879644,0.000219647,0.00002565342,0.00001634222,0.02057146,0.00002678202,0.000213392,0.04536138,0.05070029,0.0004941226],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7361607,0.1423084,0.00002534351,0.001336649,0.001273406,0.0004906936,0.0000728534,0.0000228342,0.1183091],"genre_scores_gemma":[0.9676972,0.03052113,0.0008112612,0.00008848304,0.00005213318,0.0000824348,0.000001581985,0.00001532805,0.0007304542],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2315365,"threshold_uncertainty_score":0.6047618,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2030354819","doi":"10.1386/sfc.12.2.123_1","title":"L'impact de la télévision sur les études cinématographiques en France: l'exemple de la « révolution télévisuelle » et de l'Institut de Filmologie","year":2012,"lang":"fr","type":"article","venue":"Studies in French Cinema","topic":"French Historical and Cultural 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":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Philippe Gauthier","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06159694245855617,"gpt":0.3454408189813206,"spread":0.2838438765227644,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002087457,0.000581348,0.0007656287,0.0001771816,0.001146268,0.0001188105,0.0003222751,0.0003948652,0.0006467659],"category_scores_gemma":[0.001772,0.0004516484,0.0003396179,0.0002592006,0.002382318,0.0004621654,0.0002870417,0.000773919,0.00002272163],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001471741,"about_ca_system_score_gemma":0.0002249442,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03406536,"about_ca_topic_score_gemma":0.005490847,"domain_scores_codex":[0.9961374,0.001264278,0.0005428279,0.0003975798,0.0003019447,0.001355998],"domain_scores_gemma":[0.9972865,0.001829289,0.0001904122,0.0002481431,0.0002173018,0.0002283421],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003399592,0.001054681,0.4175916,0.0007135617,0.0005713516,0.00008632388,0.0814501,0.0002477955,0.0003052408,0.1591087,0.3334112,0.005425429],"study_design_scores_gemma":[0.0005695801,0.0002866812,0.299007,0.0006529846,0.000137693,0.00005543706,0.005744949,0.00005228879,0.00006548178,0.006128287,0.6868151,0.0004844481],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.4649121,0.4693532,0.0001297167,0.001342291,0.0009957745,0.0002693817,0.00007805224,0.0001460399,0.06277347],"genre_scores_gemma":[0.8935881,0.09153325,0.0009755309,0.000220344,0.001452574,0.0001574549,0.00001487478,0.00003487342,0.01202303],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.428676,"threshold_uncertainty_score":0.9997935,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2790129728","doi":"10.1080/14715880.2017.1411576","title":"‘Authoring’ terrorism in Aziz Saâdallah’s <i>Le Temps du terrorisme</i>","year":2018,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Middle East Politics and Society","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Regina","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Film director; Comedy; Witness; Terrorism; Art; Dialectic; Visual arts; Aesthetics; Humanities; Philosophy; Movie theater; Political science; Law; Theology","authors":[{"name":"Sheila Petty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06624971061319052,"gpt":0.3696162583162146,"spread":0.3033665477030241,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001489602,0.0002036466,0.0003957172,0.0001239098,0.0005764127,0.00003828636,0.0003877545,0.000157782,0.000084787],"category_scores_gemma":[0.0007599531,0.0001965323,0.00009198233,0.0006260847,0.001228598,0.00015409,0.0002220344,0.0002596416,0.00006120395],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002938127,"about_ca_system_score_gemma":0.0002015087,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01151729,"about_ca_topic_score_gemma":0.06076252,"domain_scores_codex":[0.997753,0.0002135727,0.0004456336,0.0004103179,0.0004168334,0.0007606349],"domain_scores_gemma":[0.9991456,0.000161943,0.0001009472,0.0002865246,0.0001792635,0.0001256761],"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":[0.000006866708,0.0002692686,0.2047725,0.00007190107,0.00008380814,0.00006328781,0.6470545,0.000005596486,0.00006024937,0.07316673,0.07228565,0.002159604],"study_design_scores_gemma":[0.002052769,0.0002263009,0.07391673,0.0003886054,0.00002344898,0.000003837978,0.3548405,0.0001087864,0.0001248279,0.03792622,0.5295473,0.0008406966],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.736436,0.002460931,0.00004627191,0.008460343,0.003548029,0.0004376228,0.000009537079,0.0001069257,0.2484943],"genre_scores_gemma":[0.9924304,0.0007066959,0.0003832303,0.0005398022,0.001911642,0.00005548285,0.000001643368,0.00001688256,0.003954216],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4572616,"threshold_uncertainty_score":0.9950651,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2312293853","doi":"10.1386/sfc.11.1.71_1","title":"Negative ethics: The missed event in the French films of Michael Haneke","year":2011,"lang":"en","type":"article","venue":"Studies in French 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":"University of British Columbia","funders":"","keywords":"Documentary film; Event (particle physics); History; Art; Art history; Physics; Astrophysics","authors":[{"name":"Lisa Coulthard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.167679996075767,"gpt":0.3074367684371078,"spread":0.1397567723613407,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001737357,0.0002081931,0.000619457,0.0001984721,0.0001378607,0.000006787916,0.0004747988,0.00009444846,0.0001453001],"category_scores_gemma":[0.002361727,0.0001334476,0.000114924,0.0005535904,0.0005462419,0.00005949618,0.0001819677,0.0004821464,0.00003951875],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004525881,"about_ca_system_score_gemma":0.00002813939,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005093233,"about_ca_topic_score_gemma":0.01103841,"domain_scores_codex":[0.9983338,0.00008543395,0.0008158008,0.0003347961,0.0000921613,0.0003380683],"domain_scores_gemma":[0.9979808,0.001109046,0.0003314909,0.0004628569,0.00009218667,0.0000235735],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.00002219715,0.0004603248,0.2057423,0.0002979658,0.0004109157,0.00003748072,0.6900119,0.00003231093,0.00002260794,0.04020842,0.06212894,0.0006246183],"study_design_scores_gemma":[0.002065596,0.0003811753,0.7603488,0.0003421171,0.00003722269,0.000007720474,0.09589756,0.0001469091,0.0004487371,0.1269571,0.01289331,0.0004738008],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7997275,0.08570424,0.00009613651,0.0128462,0.002481105,0.001396305,0.0001290693,0.00002704209,0.09759238],"genre_scores_gemma":[0.9939954,0.003824435,0.0003884799,0.0007094665,0.00008569182,0.0001439176,0.000002327769,0.00001139659,0.0008388794],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5941144,"threshold_uncertainty_score":0.7699479,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2024396718","doi":"10.1386/sfci.5.3.163/1","title":"Contrasting visions in le jeune cinéma: poetics, politics and the rural","year":2005,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"French Urban and Social Studies","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":"Université de Montréal","funders":"","keywords":"Movie theater; Vision; Politics; Poetics; Context (archaeology); Parade; Art history; Sociology; Art; Media studies; History; Literature; Political science; Anthropology; Poetry; Law; Archaeology","authors":[{"name":"Delphine Bénézet","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04124923540392712,"gpt":0.3220358613085487,"spread":0.2807866259046216,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001018714,0.0001447454,0.0004025495,0.00007859314,0.0009773002,0.00003436595,0.000176284,0.00006708148,0.00001536221],"category_scores_gemma":[0.002323059,0.0001064805,0.00005108457,0.0003745868,0.002525453,0.00009936934,0.0001685021,0.0002248931,0.000005194051],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002208004,"about_ca_system_score_gemma":0.0000756903,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02474258,"about_ca_topic_score_gemma":0.1460488,"domain_scores_codex":[0.9984875,0.0001949251,0.0003539574,0.0001793025,0.0002636534,0.0005206498],"domain_scores_gemma":[0.9986925,0.0009512067,0.00007371228,0.0001107671,0.0001120251,0.0000598366],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.000008343216,0.000103666,0.03735598,0.00002392515,0.00009055333,0.00001191857,0.2842346,0.00003014439,0.000004483627,0.6526962,0.02051194,0.004928313],"study_design_scores_gemma":[0.008199845,0.00009328152,0.1742465,0.0004117036,0.00006636308,0.000002724459,0.5556982,0.0004159237,0.00001211127,0.08975915,0.1704188,0.000675449],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4841389,0.1476963,0.00002897087,0.07902618,0.001527089,0.0009393384,0.00001132197,0.0001001995,0.2865317],"genre_scores_gemma":[0.9884169,0.00730169,0.0002001261,0.0003907009,0.0005930894,0.00003595185,6.335906e-7,0.000007239181,0.003053669],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.562937,"threshold_uncertainty_score":0.9817517,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2144550471","doi":"10.1080/14715880.2014.899745","title":"First sight: how love stories begin (and how some of them end) in today’s French cinema","year":2014,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Movie theater; Narrative; Entertainment; Art; Sight; Literature; Aesthetics; Visual arts","authors":[{"name":"Peter Baxter","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04775901273566598,"gpt":0.3154870854067549,"spread":0.2677280726710889,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002120153,0.0002659032,0.0006190048,0.0002342654,0.0002749537,0.0000584013,0.0003590755,0.0001346142,0.0001252358],"category_scores_gemma":[0.002630144,0.000248176,0.00006516196,0.0005773334,0.001180398,0.001012852,0.0001418839,0.0002348315,0.00000837591],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001640795,"about_ca_system_score_gemma":0.0002118338,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006160771,"about_ca_topic_score_gemma":0.12915,"domain_scores_codex":[0.9977046,0.0005648739,0.0003414869,0.0004680654,0.0004457953,0.0004752084],"domain_scores_gemma":[0.9978185,0.001233209,0.0002116707,0.0003707435,0.0002635635,0.0001023374],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000008181528,0.0002425846,0.3824486,0.0003484356,0.00008193315,0.000009937676,0.381335,0.00000914986,0.00005837966,0.06196553,0.1726213,0.0008709435],"study_design_scores_gemma":[0.002165812,0.00044782,0.2542014,0.001020693,0.00005474823,0.000004311637,0.2930871,0.00004930313,0.0005355247,0.09388389,0.3535075,0.001041895],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7013088,0.01064804,0.00004720393,0.2488006,0.002079033,0.0008325062,0.00002397597,0.00006554184,0.03619422],"genre_scores_gemma":[0.9763895,0.002492949,0.0005507641,0.00008959712,0.0006338177,0.00005298347,0.000003983368,0.00001647698,0.01976995],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2750806,"threshold_uncertainty_score":0.999997,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}