arXiv:2608.06955v1 Announce Type: new
Abstract: Large language models (LLMs) are trained on corpora that contain expressions of human judgment about films, books, music, and more. Yet whether LLMs systematically reproduce evaluative hierarchies remains unclear. Prior research on cultural bias in LLMs suggests competing expectations: models may mirror the popularity signals of internet texts, or may reproduce forms of prestige embedded in critical discourse. We probe this question through a study of film evaluations with eight models from four families (Anthropic, OpenAI, Alibaba, and Mistral), using a 200-film benchmark partitioned into critically acclaimed, commercially successful, and dual-legitimacy (critical acclaim + commercial success) films. Across 20,000 pairwise forced-choice comparisons per model analyzed with Bradley–Terry estimation, we observe a consistent critical acclaim orientation with all models: critically acclaimed yet commercially obscure films are selected over commercially successful yet critically unrecognized ones. This pattern grows with model scale within each family. In addition, nested OLS regression analyses show that evaluative orientation, public visibility, and popular reception distinctly help explain preferences. Adjusting for public visibility reverses the models' preference for dual-legitimacy films over critical acclaim-only films, while additionally accounting for popular reception attenuates much of the disadvantage of films with commercial success only. Finally, evaluative and recommendation-oriented prompt framings produce divergent rankings, suggesting that critical acclaim orientation may manifest indirectly in real-world LLM deployments.
Abstract: Large language models (LLMs) are trained on corpora that contain expressions of human judgment about films, books, music, and more. Yet whether LLMs systematically reproduce evaluative hierarchies remains unclear. Prior research on cultural bias in LLMs suggests competing expectations: models may mirror the popularity signals of internet texts, or may reproduce forms of prestige embedded in critical discourse. We probe this question through a study of film evaluations with eight models from four families (Anthropic, OpenAI, Alibaba, and Mistral), using a 200-film benchmark partitioned into critically acclaimed, commercially successful, and dual-legitimacy (critical acclaim + commercial success) films. Across 20,000 pairwise forced-choice comparisons per model analyzed with Bradley–Terry estimation, we observe a consistent critical acclaim orientation with all models: critically acclaimed yet commercially obscure films are selected over commercially successful yet critically unrecognized ones. This pattern grows with model scale within each family. In addition, nested OLS regression analyses show that evaluative orientation, public visibility, and popular reception distinctly help explain preferences. Adjusting for public visibility reverses the models' preference for dual-legitimacy films over critical acclaim-only films, while additionally accounting for popular reception attenuates much of the disadvantage of films with commercial success only. Finally, evaluative and recommendation-oriented prompt framings produce divergent rankings, suggesting that critical acclaim orientation may manifest indirectly in real-world LLM deployments.
This article has been indexed from cs.AI updates on arXiv.org
Read the original article: