Kashi Labh is a sensory audiovisual ethnography of the distinctive politics-of-care staged by families while they anticipate and create the possibility of Moksha for their dying relative in Kashi (Varanasi). This research examines audiovisual ethnography as it facilitates a performative space that allowed me and my interlocutor Shiv to navigate the holy city and improvise different possibilities for his mother’s Moksha during his ten-day stay in Kashi.
{"title":"Kashi Labh","authors":"Rajat Nayyar","doi":"10.15845/jaf.v5i02.3272","DOIUrl":"https://doi.org/10.15845/jaf.v5i02.3272","url":null,"abstract":"Kashi Labh is a sensory audiovisual ethnography of the distinctive politics-of-care staged by families while they anticipate and create the possibility of Moksha for their dying relative in Kashi (Varanasi). This research examines audiovisual ethnography as it facilitates a performative space that allowed me and my interlocutor Shiv to navigate the holy city and improvise different possibilities for his mother’s Moksha during his ten-day stay in Kashi.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"31 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116378091","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}
This documentary film is a result of multi-sited ethnographic research between 2015-2019, which explores cultural identity, gender, music, and spirituality through contemporary and common kava practices. Drawing from over 17 years of participation in kava communities, this film is grounded in Tongan experiences, while also including a mobile and expanding Moana/Wansolwara/Oceanic perspective with contributions from Fijians, Sāmoans, Māori, and more. The knowledge holders in this film span across four territories, including Te Ika a Māui in Aotearoa, Utah (US) on Turtle Island, The Kingdom of Tonga, and Kamberra, Australia. They share a complex web of experiences, purpose, and tensions within the contemporary practices of common kava gatherings known in Tongan as faikava. Contemporary kava gatherings are spaces to release the pressures of modern life, nurture ancestral and social relationships, reveal truths, build community, produce and transmit knowledge, negotiate identity, heal, and foster positive well-being through comradery and openness. This film cannot cover all of the complexity of kava culture, yet attempts to be a meaningful introduction to the dynamic practices that are alive and expanding throughout the world.
{"title":"Kava Rootz","authors":"Arcia Tecun","doi":"10.15845/jaf.v5i01.2844","DOIUrl":"https://doi.org/10.15845/jaf.v5i01.2844","url":null,"abstract":"This documentary film is a result of multi-sited ethnographic research between 2015-2019, which explores cultural identity, gender, music, and spirituality through contemporary and common kava practices. Drawing from over 17 years of participation in kava communities, this film is grounded in Tongan experiences, while also including a mobile and expanding Moana/Wansolwara/Oceanic perspective with contributions from Fijians, Sāmoans, Māori, and more. The knowledge holders in this film span across four territories, including Te Ika a Māui in Aotearoa, Utah (US) on Turtle Island, The Kingdom of Tonga, and Kamberra, Australia. They share a complex web of experiences, purpose, and tensions within the contemporary practices of common kava gatherings known in Tongan as faikava. Contemporary kava gatherings are spaces to release the pressures of modern life, nurture ancestral and social relationships, reveal truths, build community, produce and transmit knowledge, negotiate identity, heal, and foster positive well-being through comradery and openness. This film cannot cover all of the complexity of kava culture, yet attempts to be a meaningful introduction to the dynamic practices that are alive and expanding throughout the world.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115544947","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}
The short documentary "Memory Is Not About the Past" aims to understand how members of the so-called Third Generation East, individuals who experienced the fall of the Berlin Wall as children or young adolescents, remember East Germany 26 years after reunification. The field of research is the city of Berlin and all its former East German districts. Walking, as a performative practice, is at the centre of this ethnographic journey. With every step, the individuals reclaim their childhood neighbourhood and, at the same time, position themselves in the present. The urban space functions as a sounding board of the individual's inner thoughts and embodied experiences and is closely intertwined with stories of former communal solidarity, social change and an underlying level of estrangement from these areas.
这部名为《记忆不是关于过去》(Memory Is Not About The Past)的短纪录片旨在了解所谓的“东方第三代”(Third Generation East)成员，即在童年或青少年时期经历过柏林墙倒塌的人，如何在统一26年后记住东德。研究领域是柏林市及其所有前东德地区。行走，作为一种表演实践，是这次民族志之旅的中心。每走一步，每个人都在重新找回童年的邻居，同时，把自己定位在现在。城市空间作为个人内心思想和具体经验的发声板，与以前的社区团结、社会变革以及与这些地区的潜在疏远紧密交织在一起。
{"title":"Memory Is Not About the Past","authors":"Anne Chahine","doi":"10.15845/jaf.v5i01.3189","DOIUrl":"https://doi.org/10.15845/jaf.v5i01.3189","url":null,"abstract":"The short documentary \"Memory Is Not About the Past\" aims to understand how members of the so-called Third Generation East, individuals who experienced the fall of the Berlin Wall as children or young adolescents, remember East Germany 26 years after reunification. The field of research is the city of Berlin and all its former East German districts. Walking, as a performative practice, is at the centre of this ethnographic journey. With every step, the individuals reclaim their childhood neighbourhood and, at the same time, position themselves in the present. The urban space functions as a sounding board of the individual's inner thoughts and embodied experiences and is closely intertwined with stories of former communal solidarity, social change and an underlying level of estrangement from these areas.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"384 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132356708","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}
The Passager A collaborative project Synopsis: Asef is a young Afghan refugee who left his country in search of a safer living conditions. He arrived in Greece in 2016 and was moved to the refugee camps in Athens; Piraeus port and then to Eleniko. During this period, he struggles several times to cross into Western Europe. A few months later, Asef meets Arjang Omrani and after awhile they decided to make a diary film about Asef's everyday life in Greece and his attempts to flee to other countries. Asef was coached by Arjang Omrani during the film process in which he was learning about ideas of filming, montage, and storytelling. Using his own mobile phone Asef manages to collect his video diaries that lasted for the next eight months. While showing his surroundings, Asef gives insightful portraits of Eleniko refugee camp, Victoria Park in Athens, where he goes to contact the smugglers. Also his experiences in Patra, in the abandoned wood factory where he was sheltering, and the port where he tries to hide under the trucks that are waiting to embark on ferries to go to Italy. The young Afghan refugee not only shows the foreign places of passage but also he reflects upon his motivations of getting into this journey and the constraints and difficulties he has gone through. “Why can’t I have a normal life!” speaks out Asef from the rooftop of a deserted wood factory. He talks about his dreams and desires while questioning the universal injustice in people's life conditions.
{"title":"PASSAGER","authors":"Arjang Omrani, A. Rezaei","doi":"10.15845/jaf.v4i01.2864","DOIUrl":"https://doi.org/10.15845/jaf.v4i01.2864","url":null,"abstract":"The Passager \u0000A collaborative project \u0000Synopsis: Asef is a young Afghan refugee who left his country in search of a safer living conditions. He arrived in Greece in 2016 and was moved to the refugee camps in Athens; Piraeus port and then to Eleniko. During this period, he struggles several times to cross into Western Europe. A few months later, Asef meets Arjang Omrani and after awhile they decided to make a diary film about Asef's everyday life in Greece and his attempts to flee to other countries. Asef was coached by Arjang Omrani during the film process in which he was learning about ideas of filming, montage, and storytelling. Using his own mobile phone Asef manages to collect his video diaries that lasted for the next eight months. While showing his surroundings, Asef gives insightful portraits of Eleniko refugee camp, Victoria Park in Athens, where he goes to contact the smugglers. Also his experiences in \u0000Patra, in the abandoned wood factory where he was sheltering, and the port where he tries to hide under the trucks that are waiting to embark on ferries to go to Italy. The young Afghan refugee not only shows the foreign places of passage but also he reflects upon his motivations of getting into this journey and the constraints and difficulties he has gone through. \u0000“Why can’t I have a normal life!” speaks out Asef from the rooftop of a deserted wood factory. He talks about his dreams and desires while questioning the universal injustice in people's life conditions.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127256122","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}
Ali, Mahmoud and Mohamed are three Egyptian men who lived in Italy without documents for almost ten years. Suddenly thanks to an amnesty they finally manage to legalise their status and their future is re-inhabited by possibilities. As part of their need to rediscover their dreams and hopes they decide to take the journey back to the first places of arrival, where they disembarked from the boats that had brought them as teenagers to Italy after crossing the Mediterranean. The film follows them back to the emblematic places of the past, where memories are intertwined with fantasies about what could be, or could have been, their possible new life. Collaborative documentary filmmaking is accompanied by creative narrative processes such as theatre, storytelling, photography and participatory animation.
{"title":"It was Tomorrow","authors":"Alexandra D'onofrio","doi":"10.15845/jaf.v3i02.2757","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2757","url":null,"abstract":"Ali, Mahmoud and Mohamed are three Egyptian men who lived in Italy without documents for almost ten years. Suddenly thanks to an amnesty they finally manage to legalise their status and their future is re-inhabited by possibilities. As part of their need to rediscover their dreams and hopes they decide to take the journey back to the first places of arrival, where they disembarked from the boats that had brought them as teenagers to Italy after crossing the Mediterranean. The film follows them back to the emblematic places of the past, where memories are intertwined with fantasies about what could be, or could have been, their possible new life. Collaborative documentary filmmaking is accompanied by creative narrative processes such as theatre, storytelling, photography and participatory animation.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131204634","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}
Four migrants from Mozambique provide eyewitness testimony about the racially motivated attacks that took place in Hoyerswerda, Saxony, in 1991. Their report is read to accompany archive shots, obtained directly in the streets of German city, which are shown in one half of the frame. The other half contains drone surveillance footage obtained by Frontex, the agency responsible for protecting the European Union's borders.
{"title":"Document: Hoyerswerda | Frontex","authors":"Thomas Kaske","doi":"10.15845/jaf.v3i02.2761","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2761","url":null,"abstract":"Four migrants from Mozambique provide eyewitness testimony about the racially motivated attacks that took place in Hoyerswerda, Saxony, in 1991. Their report is read to accompany archive shots, obtained directly in the streets of German city, which are shown in one half of the frame. The other half contains drone surveillance footage obtained by Frontex, the agency responsible for protecting the European Union's borders.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124345869","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}
The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea.
{"title":"Quiet Life","authors":"Tasos Giapoutzis, Marios Kleftakis","doi":"10.15845/jaf.v3i02.2792","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2792","url":null,"abstract":"The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. \u0000Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122364244","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}
The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea.
{"title":"When You Are In The Sea","authors":"Jack Jones, Ann-Kathrine Kvaernoe","doi":"10.15845/jaf.v3i02.2825","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2825","url":null,"abstract":"The film follows two fishermen from the Greek village Skala Sikamineas, on the island of Lesvos, who were nominated for the Nobel Peace Prize for their efforts in saving people crossing the waters from Turkey to Greece. Filmed during the period of relative calm in May 2016, following months where thousands of people passed through the village. Structured around everyday practices of these two fishermen, the film explores their experiences of frequently rescuing those attempting to cross the same waters they navigate daily for their work. These memories are intertwined with an observational approach to contemporary fishing practices, exploring how previous experiences of rupture in daily life continue to inflect and give meaning to these fisherman ́s relationship to the sea. \u0000 ","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116676617","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}
Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland. This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state. Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.
{"title":"Unimaginable Dreams","authors":"Marzia Jamili, Brittany Nugent, Dove Barbanel","doi":"10.15845/jaf.v3i02.2823","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2823","url":null,"abstract":"Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland. \u0000 \u0000This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state. \u0000 \u0000Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121893248","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}
A glimpse into the realities of life in Europe for thousands of migrants. Thirty-one-year old Shukri left her four children in Somalia in 2008, walked across North Africa and risked a hazardous raft trip across the Mediterranean to seek a better life in Europe. She is one of thousands of such migrants who attempt the journey each year and although she has been given refugee status in Italy her future still looks bleak. Filmmaker Rossella Schillaci followed Shukri and in the following account describes the realities of her life - and those of thousands of others. In the winter of 2008, over 400 Somali and Sudanese refugees squatted in an abandoned building that had once housed a medical clinic in downtown Turin, northern Italy. The Italian government's indifference towards refugees left them with little alternative. Once refugees are issued a sojourn permit, they are left to fend for themselves, with just a few receiving temporary housing and education. Many rely on Catholic volunteer relief associations for help, but these cannot provide housing and the waiting lists for dormitories seem endless. Many refugees live and sleep on the streets. In larger cities, they squat in old buildings or abandoned factories, enduring overcrowded and grim living conditions often without water or electricity.
{"title":"SHUKRI, A NEW LIFE","authors":"R. Schillaci","doi":"10.15845/jaf.v3i02.2829","DOIUrl":"https://doi.org/10.15845/jaf.v3i02.2829","url":null,"abstract":"A glimpse into the realities of life in Europe for thousands of migrants. \u0000Thirty-one-year old Shukri left her four children in Somalia in 2008, walked across North Africa and risked a hazardous raft trip across the Mediterranean to seek a better life in Europe. She is one of thousands of such migrants who attempt the journey each year and although she has been given refugee status in Italy her future still looks bleak. Filmmaker Rossella Schillaci followed Shukri and in the following account describes the realities of her life - and those of thousands of others. In the winter of 2008, over 400 Somali and Sudanese refugees squatted in an abandoned building that had once housed a medical clinic in downtown Turin, northern Italy. The Italian government's indifference towards refugees left them with little alternative. Once refugees are issued a sojourn permit, they are left to fend for themselves, with just a few receiving temporary housing and education. Many rely on Catholic volunteer relief associations for help, but these cannot provide housing and the waiting lists for dormitories seem endless. Many refugees live and sleep on the streets. In larger cities, they squat in old buildings or abandoned factories, enduring overcrowded and grim living conditions often without water or electricity.","PeriodicalId":179193,"journal":{"name":"Journal of Anthropological Films","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129845714","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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