Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0009
P. Cooke
This chapter explores the gap between the way South Africa is experienced internally by some parts of the nation and the continued power of the story of the nation’s transition to democracy under Mandela internationally, a story which remains a remarkably resilient factor in the nation’s soft power offering. The chapter focuses on the less frequently explored internal dimension of soft power narratives and how they can be used to construct an imagined (national) community. It looks in particular at how community-level filmmaking has been used to contest the national soft-power narrative of the inclusive “rainbow nation”
{"title":"The South African Soft Power Narrative, Cinema and Participatory Video","authors":"P. Cooke","doi":"10.3366/edinburgh/9781474456272.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0009","url":null,"abstract":"This chapter explores the gap between the way South Africa is experienced internally by some parts of the nation and the continued power of the story of the nation’s transition to democracy under Mandela internationally, a story which remains a remarkably resilient factor in the nation’s soft power offering. The chapter focuses on the less frequently explored internal dimension of soft power narratives and how they can be used to construct an imagined (national) community. It looks in particular at how community-level filmmaking has been used to contest the national soft-power narrative of the inclusive “rainbow nation”","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116922141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0011
A. Higson
The UK’s departure from the EU is a major geo-political development by any definition. This chapter reflects on James Bond’s role in this development. The apparent ease with which the Daniel Craig incarnation of Bond both asserts a British identity and moves around the world has been repeatedly invoked in recent political debates in and about the UK. The 2014 Monocle report and 2015 Portland report on soft power identified the UK as one of the world’s leading soft powers, both citing the Bond films as contributors to that status. Around the same time, the Bond films were also roped into VisitBritain’s promotional campaign to make Britain seem an attractive place to visit, with the slogan ‘Bond is GREAT Britain’. This chapter explores how the nation-branding at stake here coincided with the visions of the Brexiteers. Ironically, the soft power and commercial nationalism captured in this vision of the UK depends on multi-national inward investment in UK’s cultural economy. The chapter argues that this is the plight of national cinema in a neoliberal, globalised world.
{"title":"Soft Power and National Cinema: James Bond, ‘GREAT’ Britain and Brexit","authors":"A. Higson","doi":"10.3366/edinburgh/9781474456272.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0011","url":null,"abstract":"The UK’s departure from the EU is a major geo-political development by any definition. This chapter reflects on James Bond’s role in this development. The apparent ease with which the Daniel Craig incarnation of Bond both asserts a British identity and moves around the world has been repeatedly invoked in recent political debates in and about the UK. The 2014 Monocle report and 2015 Portland report on soft power identified the UK as one of the world’s leading soft powers, both citing the Bond films as contributors to that status. Around the same time, the Bond films were also roped into VisitBritain’s promotional campaign to make Britain seem an attractive place to visit, with the slogan ‘Bond is GREAT Britain’. This chapter explores how the nation-branding at stake here coincided with the visions of the Brexiteers. Ironically, the soft power and commercial nationalism captured in this vision of the UK depends on multi-national inward investment in UK’s cultural economy. The chapter argues that this is the plight of national cinema in a neoliberal, globalised world.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132836072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0006
C. Homewood
This chapter considers China’s use of film to build its soft power in the West. In recent years, the Chinese film market has grown (and seemingly continues to grow) at an exponential rate, and this remarkable turn of events has enabled China to co-opt Hollywood as an adjunct soft power asset. Keen to deepen its penetration of China’s now highly lucrative market, the Hollywood majors are adopting a more ecumenical understanding of geopolitical space and proffering affirmative images of China’s role in world affairs. This chapter considers the depth and scope of this understanding and its articulation on screen. It argues that the positively framed understanding of China and its place in the world faces mounting competition from other Western sources of China information, few of which seem to share Hollywood’s affirmative stance.
{"title":"The Limits of Hollywood as an Instrument of Chinese Public Diplomacy and Soft Power","authors":"C. Homewood","doi":"10.3366/edinburgh/9781474456272.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0006","url":null,"abstract":"This chapter considers China’s use of film to build its soft power in the West. In recent years, the Chinese film market has grown (and seemingly continues to grow) at an exponential rate, and this remarkable turn of events has enabled China to co-opt Hollywood as an adjunct soft power asset. Keen to deepen its penetration of China’s now highly lucrative market, the Hollywood majors are adopting a more ecumenical understanding of geopolitical space and proffering affirmative images of China’s role in world affairs. This chapter considers the depth and scope of this understanding and its articulation on screen. It argues that the positively framed understanding of China and its place in the world faces mounting competition from other Western sources of China information, few of which seem to share Hollywood’s affirmative stance.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123608766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0001
Stephanie Dennison
This introductory chapter, as well as providing a context for reading the various chapter contributions to the volume, examines of the theory and broad uses of soft power in relation to film culture in the 21st century. It also reflects on the impact of the COVID-19 pandemic on BRICS nations and their film industries.
{"title":"Introduction: The Soft Power of Film","authors":"Stephanie Dennison","doi":"10.3366/edinburgh/9781474456272.003.0001","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0001","url":null,"abstract":"This introductory chapter, as well as providing a context for reading the various chapter contributions to the volume, examines of the theory and broad uses of soft power in relation to film culture in the 21st century. It also reflects on the impact of the COVID-19 pandemic on BRICS nations and their film industries.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125984178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0005
Vlad Strukov
This chapter will focus on a specific medium and area of cultural production, namely digital animation which will be considered in the context of other digital industries and forms. Russia and Russians have a reputation for producing high quality animation which has gained critical acclaim at international festivals (an example of positive soft power, or, in Nye’s terms, the power of attraction). Indeed, in 2015-16 Masha and the Bear, a digital animation series which is aimed at young children, was the fourth most popular YouTube video in the world with over 4 bln views. The popular success of Masha and the Bear remains unaccounted in literature, including the fields of Russian Studies, Film Studies and Popular Geopolitics. By using a multi-disciplinary approach, this chapter will interrogate Russian non-governmental soft power agency. It will analyse the films included in the Masha and the Bear franchise by exploring their modes of distribution and presentation. In conclusion, the chapter will propose a re-consideration of Russian soft power which has currently been referred to by western observers as ‘propaganda’ and ‘information warfare’.
{"title":"(Masha and) the Bear Diplomacy: Soft Power as World-building and Russian Non-governmental Agency","authors":"Vlad Strukov","doi":"10.3366/edinburgh/9781474456272.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0005","url":null,"abstract":"This chapter will focus on a specific medium and area of cultural production, namely digital animation which will be considered in the context of other digital industries and forms. Russia and Russians have a reputation for producing high quality animation which has gained critical acclaim at international festivals (an example of positive soft power, or, in Nye’s terms, the power of attraction). Indeed, in 2015-16 Masha and the Bear, a digital animation series which is aimed at young children, was the fourth most popular YouTube video in the world with over 4 bln views. The popular success of Masha and the Bear remains unaccounted in literature, including the fields of Russian Studies, Film Studies and Popular Geopolitics. By using a multi-disciplinary approach, this chapter will interrogate Russian non-governmental soft power agency. It will analyse the films included in the Masha and the Bear franchise by exploring their modes of distribution and presentation. In conclusion, the chapter will propose a re-consideration of Russian soft power which has currently been referred to by western observers as ‘propaganda’ and ‘information warfare’.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"37 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134382015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0010
Rachel E. Dwyer
Bollywood, the name by which mainstream Hindi cinema has come to be known over the last two decades, is recognised internationally as a style of glamour and kitsch, associated with song and dance. From being seen as something of a national guilty secret, it has come to mark a new image of modern India where it continues to hold around 95% of domestic film market (Thussu 2007) with the new and other media reinforcing, rather than detracting from, the cinema. India has had a Hindu nationalist government since 2014. Concerns with how the nation is depicted have been mostly internal affairs with cultural wars on social media and on university campuses. This chapter looks at how the Hindi film industry, which practises self-censorship is shaping a new image of Indian history in this climate and how this appeals to its overseas audiences who are mostly found in the Indian diaspora.
{"title":"New Myths for an Old Nation: Bollywood, Soft Power and Hindu Nationalism","authors":"Rachel E. Dwyer","doi":"10.3366/edinburgh/9781474456272.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0010","url":null,"abstract":"Bollywood, the name by which mainstream Hindi cinema has come to be known over the last two decades, is recognised internationally as a style of glamour and kitsch, associated with song and dance. From being seen as something of a national guilty secret, it has come to mark a new image of modern India where it continues to hold around 95% of domestic film market (Thussu 2007) with the new and other media reinforcing, rather than detracting from, the cinema. India has had a Hindu nationalist government since 2014. Concerns with how the nation is depicted have been mostly internal affairs with cultural wars on social media and on university campuses. This chapter looks at how the Hindi film industry, which practises self-censorship is shaping a new image of Indian history in this climate and how this appeals to its overseas audiences who are mostly found in the Indian diaspora.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122013255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0004
A. Meleiro
With 25% of the audiovisual market, global sales of $ 100 billion in 2006 and $ 222 billion in 2013, animation is one of the segments of the creative industry worldwide with the highest growth potential (7% per year). Within this panorama, it is affirmed that the animation industry has gradually become a sector of economic dimension relevant to some countries and an important mechanism of economic growth for others: This chapter discusses the insertion of animation producers from developing countries, such as Brazil, in the international market, as the Brazilian animators, formerly absorbed by international studios, have become producers and exporters of Brazilian animation content in the most diverse formats (Games, series, movies, VOD, licensed products), building a library of intellectual property rights that has given them a global reputation. It argues that animation has achieved strategic status in the production chain of the creative industries in Brazil, but that without government steer and investment to internationalise production, Brazilian animation’s soft power potential will remain unrealised.
{"title":"The Global Animation Market: Opportunities for Developing Countries","authors":"A. Meleiro","doi":"10.3366/edinburgh/9781474456272.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0004","url":null,"abstract":"With 25% of the audiovisual market, global sales of $ 100 billion in 2006 and $ 222 billion in 2013, animation is one of the segments of the creative industry worldwide with the highest growth potential (7% per year). Within this panorama, it is affirmed that the animation industry has gradually become a sector of economic dimension relevant to some countries and an important mechanism of economic growth for others: This chapter discusses the insertion of animation producers from developing countries, such as Brazil, in the international market, as the Brazilian animators, formerly absorbed by international studios, have become producers and exporters of Brazilian animation content in the most diverse formats (Games, series, movies, VOD, licensed products), building a library of intellectual property rights that has given them a global reputation. It argues that animation has achieved strategic status in the production chain of the creative industries in Brazil, but that without government steer and investment to internationalise production, Brazilian animation’s soft power potential will remain unrealised.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129904899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0002
Song Hwee Lim
This chapter provides more than a case study of Chinese cinema’s soft power (or lack thereof) by drawing out wider implications for the interrogation of the relationship between soft power and cinema on both conceptual and methodological fronts. It proposes a three-pronged approach to the study of soft power by introducing affect— beyond the two usual lenses of agent and effect—as a missing but crucial factor in mediating soft power transactions. It uses the example of The Great Wall (Zhang Yimou, 2016) to demonstrate how the very making of the film can be perceived as an occasion in which affective resonances towards the emergence and march of China coalesce to generate an environment that would undermine the reception of the film. Finally, it suggests that the Chinese case inflects the study of soft power in three ways—namely, perception, policy, and propaganda—and concludes that China’s hard power manoeuvres have rendered the performance of its soft power efforts rather flaccid precisely because affect is intrinsic in, rather than external to, agent, atmosphere, and effect.
{"title":"Soft Power and Cinema: A Methodological Reflection and Some Chinese Inflections","authors":"Song Hwee Lim","doi":"10.3366/edinburgh/9781474456272.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0002","url":null,"abstract":"This chapter provides more than a case study of Chinese cinema’s soft power (or lack thereof) by drawing out wider implications for the interrogation of the relationship between soft power and cinema on both conceptual and methodological fronts. It proposes a three-pronged approach to the study of soft power by introducing affect— beyond the two usual lenses of agent and effect—as a missing but crucial factor in mediating soft power transactions. It uses the example of The Great Wall (Zhang Yimou, 2016) to demonstrate how the very making of the film can be perceived as an occasion in which affective resonances towards the emergence and march of China coalesce to generate an environment that would undermine the reception of the film. Finally, it suggests that the Chinese case inflects the study of soft power in three ways—namely, perception, policy, and propaganda—and concludes that China’s hard power manoeuvres have rendered the performance of its soft power efforts rather flaccid precisely because affect is intrinsic in, rather than external to, agent, atmosphere, and effect.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124499810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0007
Stephen M. Norris
This chapter analyzes recent Russian popular historical movies in the era of Vladimir Medinskii as Minister of Culture and Vladimir Putin’s return to the Russian presidency (2012-present). Following Keith Dinnie, Melissa Aronczyk, and Robert Saunders, I see attempts to “brand” a nation, even for domestic audiences, as a crucial component of soft power and as a form of public diplomacy. Medinskii in particular has helped to promote a patriotic culture centered on the Second World War, Soviet sports achievements, and the Soviet space program. Developing this patriotic brand, however, has come with some costs. The branding of a Russian nation as advertised onscreen since 2012, in short, has produced a mixed bag of results in terms of soft power success.
{"title":"The Second World War, Soviet Sports and Furious Space Walks: Soft Power and Nation Branding in the Putin 2.0 Era","authors":"Stephen M. Norris","doi":"10.3366/edinburgh/9781474456272.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0007","url":null,"abstract":"This chapter analyzes recent Russian popular historical movies in the era of Vladimir Medinskii as Minister of Culture and Vladimir Putin’s return to the Russian presidency (2012-present). Following Keith Dinnie, Melissa Aronczyk, and Robert Saunders, I see attempts to “brand” a nation, even for domestic audiences, as a crucial component of soft power and as a form of public diplomacy. Medinskii in particular has helped to promote a patriotic culture centered on the Second World War, Soviet sports achievements, and the Soviet space program. Developing this patriotic brand, however, has come with some costs. The branding of a Russian nation as advertised onscreen since 2012, in short, has produced a mixed bag of results in terms of soft power success.","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125628378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.3366/edinburgh/9781474456272.003.0008
R. Saunders
This chapter analyses on two recent big-budget Russian films, Viking/Викинг (2016) and Guardians/Защитники (2017), with the aim of interrogating contemporary examples of filmic fantasy. Its focus is these films’ respective roles as influencers of geopolitical codes and geographical imagination, both at ‘home’ (i.e. within Russian cultural space) and ‘abroad’ (i.e. Europe, North America, and East Asia). Situated at the nexus of soft power, nation branding, and popular geopolitics scholarship, this chapter employs and expands Saunders and Strukov’s analytical framework of the ‘popular geopolitics feedback loop’ (2017) as it applies to the Russian Federation. By examining the (geo)visual representations and (geo)politically pregnant content of these two films in relation to their ‘Hollywood’-based counterparts (Viking bears a great semblance to HBO’s Game of Thrones (2011-) and The History Channel’s Vikings (2013-) while Guardians’ is a clear adaptation of Marvel’s The Avengers series (2012-) and its adjuncts [Iron Man, Captain America, Thor, etc.]), this study seeks to explore the ways in which soft power flows can be more effectively employed using pre-established modalities of popular cultural persuasion
{"title":"Popular Geo-politics, Strategic Narratives and Soft Power in Viking (2016) and Guardians (2017)","authors":"R. Saunders","doi":"10.3366/edinburgh/9781474456272.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456272.003.0008","url":null,"abstract":"This chapter analyses on two recent big-budget Russian films, Viking/Викинг (2016) and Guardians/Защитники (2017), with the aim of interrogating contemporary examples of filmic fantasy. Its focus is these films’ respective roles as influencers of geopolitical codes and geographical imagination, both at ‘home’ (i.e. within Russian cultural space) and ‘abroad’ (i.e. Europe, North America, and East Asia). Situated at the nexus of soft power, nation branding, and popular geopolitics scholarship, this chapter employs and expands Saunders and Strukov’s analytical framework of the ‘popular geopolitics feedback loop’ (2017) as it applies to the Russian Federation. By examining the (geo)visual representations and (geo)politically pregnant content of these two films in relation to their ‘Hollywood’-based counterparts (Viking bears a great semblance to HBO’s Game of Thrones (2011-) and The History Channel’s Vikings (2013-) while Guardians’ is a clear adaptation of Marvel’s The Avengers series (2012-) and its adjuncts [Iron Man, Captain America, Thor, etc.]), this study seeks to explore the ways in which soft power flows can be more effectively employed using pre-established modalities of popular cultural persuasion","PeriodicalId":126497,"journal":{"name":"Cinema and Soft Power","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124652650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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