Because video games are still considered ’low culture’ by many whilst being one of the most important art forms of the XXI century, this paper proposes a new concept for the field of game studies with the main goal of being a useful tool for the consolidation of the artistic recognition of the medium. A few countries have officially recognized video games as an art form and implemented legislation to support video game artists and their work; unfortunately, many governments still do not recognize this artistic field. For video games to achieve a widespread artistic legitimation it is necessary more critical thinking and institutional validation. The proposed neologism – ‘videogametism’ – is an appropriation of the Eisensteinian concept of ‘cinematism’ and, as Sergei Eisenstein’s legitimation term, ‘videogametism’ intends to support the recognition of video game artistic status, asserting that all art forms are present in this medium and that some artistic artifacts are ‘videogamatic’.
{"title":"‘Videogametism’: Consolidating the recognition of video games as an art form","authors":"Marco Fraga Silva","doi":"10.24140/ijfma.v5.n1.03","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n1.03","url":null,"abstract":"Because video games are still considered ’low culture’ by many whilst being one of the most important art forms of the XXI century, this paper proposes a new concept for the field of game studies with the main goal of being a useful tool for the consolidation of the artistic recognition of the medium. A few countries have officially recognized video games as an art form and implemented legislation to support video game artists and their work; unfortunately, many governments still do not recognize this artistic field. For video games to achieve a widespread artistic legitimation it is necessary more critical thinking and institutional validation. The proposed neologism – ‘videogametism’ – is an appropriation of the Eisensteinian concept of ‘cinematism’ and, as Sergei Eisenstein’s legitimation term, ‘videogametism’ intends to support the recognition of video game artistic status, asserting that all art forms are present in this medium and that some artistic artifacts are ‘videogamatic’.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45552830","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}
Pedro Neves, Leonel Morgado, Nelson Zagalo, I. Tec, Ciac
This paper showcases how the Contract Agency Model can be used to uncover literacy practices in videogame’s own terms as a complement to existing, more ‘indirect’ games literacies, using as an example the videogame Total War: Shogun 2. The paper first situates the Contract Agency Model within approaches to videogames and within approaches to media literacy. The paper then identifies three interesting literacy practic es in the videogame, which also exemplify the eight levels of abstraction of the Contract Agency Model. The paper concludes by discussing the model’s implications to media literacy and videogames, namely that videogames effect a second-order mutual signaling with their players – agency as a conversation of commitment to meaning – that is humanizing of those players, and that the model can uncover this as an implicit contract of bio-costs, as a ‘direct’ literacy of videogames, i.e. a literacy in videogames’ own terms.
{"title":"Uncovering literacy practices in the game Total War: Shogun 2 with a contract-agency model","authors":"Pedro Neves, Leonel Morgado, Nelson Zagalo, I. Tec, Ciac","doi":"10.24140/ijfma.v5.n1.04","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n1.04","url":null,"abstract":"This paper showcases how the Contract Agency Model can be used to uncover literacy practices in videogame’s own terms as a complement to existing, more ‘indirect’ games literacies, using as an example the videogame Total War: Shogun 2. The paper first situates the Contract Agency Model within approaches to videogames and within approaches to media literacy. The paper then identifies three interesting literacy practic es in the videogame, which also exemplify the eight levels of abstraction of the Contract Agency Model. The paper concludes by discussing the model’s implications to media literacy and videogames, namely that videogames effect a second-order mutual signaling with their players – agency as a conversation of commitment to meaning – that is humanizing of those players, and that the model can uncover this as an implicit contract of bio-costs, as a ‘direct’ literacy of videogames, i.e. a literacy in videogames’ own terms.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46505563","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}
Adriana Baptista, uniMAD, Esmad-Ipp, C. Morgado, José António Costa, J. Azevedo, inED Clup, Ese-Ipp
**** uniMAD/ESMAD-IPP, joaoazevedo@esmad.ipp.pt ADRIANA BAPTISTA* CELDA MORGADO** JOSÉ ANTÓNIO COSTA*** JOÃO AZEVEDO**** AUGMENTED REALITY TO ENHANCE NONOPPOSITE REALITY AWARENESS: LEXICAL RELATIONS AMONGST PRIMARY TEACHING Abstract Lexicon allows particular cosmovisions built up with varied semantic, formal and pragmatic-discursive relations (Coseriu, 1991; Teixeira, 2005). In teaching context, these variations are often replaced by dichotomous and decontextualized proposals of lexical organisation (Baptista et al., 2017). We hope changing some teaching practices, based on complex lexical relationships research, and on new didactic resources. Firstly, we account for the diversity of existing lexical relations (Choupina et al., 2013), considering different linguistic criteria (Lehmann & Martin-Berthet, 2008). Then, we present an exploratory study to see if primary school pupils’ mental lexicon is intuitively organised in a dichotomous way. Departing from three bimodal narratives where words show opposition relations, although not exclusive, within the story, sometimes oppositional relations become similarity relations. These relationships allow to group words such as word class, worldviews, sociocultural references. Although this approach starts with antonyms and synonyms in second grade classes (according to Portuguese primary school curriculum, Buescu et al., 2015), we registered varied students’ responses, reflecting a mental lexicon escaping the dichotomy of certain oppositions taught in a decontextualized way. Thirdly, we propose an augmented reality tool that allows children (and adults) to watch visual narrative representing actions from written narratives. As a matter of fact, within particular contexts, words may not relate to each other in an opposite way. If intuitive knowledge on words isn’t confined to rigid perspectives, teaching shouldn’t lead that way, but to promote a critical thinking approach supporting education for citizenship.
**** uniMAD/ esmadi - ipp, joaoazevedo@esmad.ipp.pt ADRIANA BAPTISTA* CELDA MORGADO** JOSÉ ANTÓNIO COSTA*** JOÃO AZEVEDO****增强现实增强非对立现实意识:初级教学中的词汇关系抽象词汇允许特定的世界观建立在不同的语义，形式和语用-话语关系(Coseriu, 1991;特谢拉,2005)。在教学环境中，这些变化通常被二分法和非语境化的词汇组织建议所取代(Baptista等人，2017)。我们希望在复杂词汇关系研究的基础上，利用新的教学资源，改变一些教学实践。首先，我们考虑到现有词汇关系的多样性(Choupina et al.， 2013)，考虑到不同的语言标准(Lehmann & Martin-Berthet, 2008)。然后，我们提出了一项探索性研究，以了解小学生的心理词汇是否直观地以二分法组织。从三个双峰叙事中，词语在故事中表现出对立关系，尽管不是排他性的，但有时对立关系会变成相似关系。这些关系允许对单词进行分组，如词类、世界观、社会文化参考。尽管这种方法从二年级的反义词和同义词开始(根据葡萄牙小学课程，Buescu等人，2015)，但我们记录了不同学生的反应，反映了一种心理词汇，摆脱了以非语境化方式教授的某些对立的两分法。第三，我们提出了一种增强现实工具，允许儿童(和成人)观看从书面叙述中代表行动的视觉叙事。事实上，在特定的语境中，单词可能不会以相反的方式相互关联。如果对词汇的直觉知识不局限于僵化的观点，那么教学就不应该这样，而应该促进一种支持公民教育的批判性思维方法。
{"title":"Augmented reality to enhance non-opposite reality awareness","authors":"Adriana Baptista, uniMAD, Esmad-Ipp, C. Morgado, José António Costa, J. Azevedo, inED Clup, Ese-Ipp","doi":"10.24140/ijfma.v5.n1.05","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n1.05","url":null,"abstract":"**** uniMAD/ESMAD-IPP, joaoazevedo@esmad.ipp.pt ADRIANA BAPTISTA* CELDA MORGADO** JOSÉ ANTÓNIO COSTA*** JOÃO AZEVEDO**** AUGMENTED REALITY TO ENHANCE NONOPPOSITE REALITY AWARENESS: LEXICAL RELATIONS AMONGST PRIMARY TEACHING Abstract Lexicon allows particular cosmovisions built up with varied semantic, formal and pragmatic-discursive relations (Coseriu, 1991; Teixeira, 2005). In teaching context, these variations are often replaced by dichotomous and decontextualized proposals of lexical organisation (Baptista et al., 2017). We hope changing some teaching practices, based on complex lexical relationships research, and on new didactic resources. Firstly, we account for the diversity of existing lexical relations (Choupina et al., 2013), considering different linguistic criteria (Lehmann & Martin-Berthet, 2008). Then, we present an exploratory study to see if primary school pupils’ mental lexicon is intuitively organised in a dichotomous way. Departing from three bimodal narratives where words show opposition relations, although not exclusive, within the story, sometimes oppositional relations become similarity relations. These relationships allow to group words such as word class, worldviews, sociocultural references. Although this approach starts with antonyms and synonyms in second grade classes (according to Portuguese primary school curriculum, Buescu et al., 2015), we registered varied students’ responses, reflecting a mental lexicon escaping the dichotomy of certain oppositions taught in a decontextualized way. Thirdly, we propose an augmented reality tool that allows children (and adults) to watch visual narrative representing actions from written narratives. As a matter of fact, within particular contexts, words may not relate to each other in an opposite way. If intuitive knowledge on words isn’t confined to rigid perspectives, teaching shouldn’t lead that way, but to promote a critical thinking approach supporting education for citizenship.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41606870","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 : 2020-06-30DOI: 10.24140/ijfma.v5.n1.edit
F. Luz, C. Costa
{"title":"IJFMA Vol. 5 No. 1 Editorial: Videogames and Culture: Design, Performance, Art and Education","authors":"F. Luz, C. Costa","doi":"10.24140/ijfma.v5.n1.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n1.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47010952","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}
Relationships between gaming audiences and the industry workforce has been a significant factor for decades, becoming an economic driver for high-profile studios, which has led to an increase in budget size and a tightening of deadlines. The definition of creative media products under capitalism as “research, product planning and design, packaging, publicity and promotion, pricing policy, and sales and distribution” (Ryan, 1991, p.186) resonates perfectly with contemporary marketing strategies The inherent complexity of marketing strategy in this view accounts for heightened risks, which make the creation of original products from scratch a difficult proposition. This in turn can account for a certain aversion to risk, which makes sequels and serialization a preferred option, whereby games become mere products, and audience mere consumers. The aim of this article is to trace the process through which the games industry’s core audience became defined, as it relates to how certain game titles became established in the market, and how this affected working conditions for game developers. The scope of this article is big budget game titles, and how these related to the establishment of certain pervasive, potentially harmful audience expectations in the games industry. Author
{"title":"The relation between gamers audiences and gaming industry workforce","authors":"Ivan Barroso","doi":"10.24140/ijfma.v5.n1.01","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n1.01","url":null,"abstract":"Relationships between gaming audiences and the industry workforce has been a significant factor for decades, becoming an economic driver for high-profile studios, which has led to an increase in budget size and a tightening of deadlines. The definition of creative media products under capitalism as “research, product planning and design, packaging, publicity and promotion, pricing policy, and sales and distribution” (Ryan, 1991, p.186) resonates perfectly with contemporary marketing strategies The inherent complexity of marketing strategy in this view accounts for heightened risks, which make the creation of original products from scratch a difficult proposition. This in turn can account for a certain aversion to risk, which makes sequels and serialization a preferred option, whereby games become mere products, and audience mere consumers. The aim of this article is to trace the process through which the games industry’s core audience became defined, as it relates to how certain game titles became established in the market, and how this affected working conditions for game developers. The scope of this article is big budget game titles, and how these related to the establishment of certain pervasive, potentially harmful audience expectations in the games industry. Author","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44624839","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}
For over four decades I have been part of a As a founder member, I have had some level of involvement with all the Workshop’s 40 or so 3D, mixed media, and cut-outs; but the focus of been, on using animation to raise awareness, cial issues. and on our collective working practice.
{"title":"Faithfully Animating the Truth: Some experiences of a women’s collective","authors":"Terry Wragg","doi":"10.24140/ijfma.v4.n2.05","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n2.05","url":null,"abstract":"For over four decades I have been part of a As a founder member, I have had some level of involvement with all the Workshop’s 40 or so 3D, mixed media, and cut-outs; but the focus of been, on using animation to raise awareness, cial issues. and on our collective working practice.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46651298","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}
Mário Abel Bressan, Heloisa Juncklaus Preis Moraes
This study aims to expose some thoughts about the reformulation of the social bond constituted with the television, through remembrances evoked among television viewers involving a teleaffective memory and new formats inside audiovisual consumption. In addition to this, it analyses the comments of people that watched a remake of the Brazilian program Cassino do Chacrinha (Chacrinha’s Casino), which aired in 2017 on Rede Globo de Televisão (TV Globo) and Canal Viva (Viva), commemorating the centenary of Abelardo Barbosa, a very important Brazilian TV host who acted between the ’70s and ’80s. Our methodology follows the content analysis mobilised by Laurence Bardin (2011) in relation to texts posted on Twitter containing the expression Cassino do Chacrinha in August 3, 2017 (aired on Viva) and September 6, 2017 (aired on TV Globo). We want to discuss the relationship between imaginary, memory, and social bond starting from a televisual archive, where we present tele-affective marks of memory through substantial and shared images that appear in these analysed comments.
本研究旨在透过电视观众所唤起的记忆，包括远情感记忆和视听消费的新形式，来揭示与电视建构的社会连结的重新建构。除此之外，它还分析了观看2017年在redde Globo de televis (TV Globo)和Canal Viva (Viva)播出的巴西节目Cassino do Chacrinha (Chacrinha’s Casino)的人们的评论，该节目是为了纪念阿贝拉多·巴博萨(Abelardo Barbosa)百年诞辰，他是一位非常重要的巴西电视主持人，在70年代到80年代之间表演。我们的方法遵循Laurence Bardin(2011)对2017年8月3日(在Viva播出)和2017年9月6日(在TV Globo播出)在Twitter上发布的包含Cassino do Chacrinha表达的文本进行的内容分析。我们想从一个电视档案开始讨论想象、记忆和社会纽带之间的关系，我们通过这些分析评论中出现的大量和共享的图像来呈现记忆的远程情感标记。
{"title":"Televisual Archive: Imaginary, memory and re-visited social bond","authors":"Mário Abel Bressan, Heloisa Juncklaus Preis Moraes","doi":"10.24140/ijfma.v4.n1.03","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.03","url":null,"abstract":"This study aims to expose some thoughts about the reformulation of the social bond constituted with the television, through remembrances evoked among television viewers involving a teleaffective memory and new formats inside audiovisual consumption. In addition to this, it analyses the comments of people that watched a remake of the Brazilian program Cassino do Chacrinha (Chacrinha’s Casino), which aired in 2017 on Rede Globo de Televisão (TV Globo) and Canal Viva (Viva), commemorating the centenary of Abelardo Barbosa, a very important Brazilian TV host who acted between the ’70s and ’80s. Our methodology follows the content analysis mobilised by Laurence Bardin (2011) in relation to texts posted on Twitter containing the expression Cassino do Chacrinha in August 3, 2017 (aired on Viva) and September 6, 2017 (aired on TV Globo). We want to discuss the relationship between imaginary, memory, and social bond starting from a televisual archive, where we present tele-affective marks of memory through substantial and shared images that appear in these analysed comments.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47692432","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}
{"title":"Portuguese Soap Operas: A Genre at the Crossroads","authors":"M. Damásio, Cicant Film, J. P. D. Costa","doi":"10.24140/ijfma.v4.n1.02","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.02","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42063103","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 : 2019-05-01DOI: 10.24140/ijfma.v4.n1.edit
V. Flores
{"title":"Editorial","authors":"V. Flores","doi":"10.24140/ijfma.v4.n1.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43047884","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}
Television was born analogue, almost 100 years ago: first broadcast across airwaves, then delivered via analogue cable and satellite, to reach millions and millions of people around the world. Like many other industries, television has been under the process of digital transformation, integrating digital technologies in all parts of its value chain, from content production to content distribution. Today, inseparable from the digital transformation process is the large, diverse and ever-growing volume of data created, captured, analyzed and applied – also known as Big Data. Television is being reshaped by Big Data, with newcomers to the industry such as Netflix leading the way, for others to follow and for others to fail. The concepts of Platform Capitalism, Surveillance Capitalism and Dataism may illuminate many of the challenges faced by the main stakeholders in the television industry, with implications that go much beyond this field. Lastly, Netflix’s impact on the production, distribution and consumption of audiovisual content is still to be understood in a small market such as Portugal: the current exploratory paper is also meant to be the basis of future research in Portugal about internet-distributed television.
{"title":"Television Reshaped by Big Data: Impacts and implications for Netflix-like platforms in the age of dataism","authors":"C. Quico, Cicant Film","doi":"10.24140/ijfma.v4.n1.04","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.04","url":null,"abstract":"Television was born analogue, almost 100 years ago: first broadcast across airwaves, then delivered via analogue cable and satellite, to reach millions and millions of people around the world. Like many other industries, television has been under the process of digital transformation, integrating digital technologies in all parts of its value chain, from content production to content distribution. Today, inseparable from the digital transformation process is the large, diverse and ever-growing volume of data created, captured, analyzed and applied – also known as Big Data. Television is being reshaped by Big Data, with newcomers to the industry such as Netflix leading the way, for others to follow and for others to fail. The concepts of Platform Capitalism, Surveillance Capitalism and Dataism may illuminate many of the challenges faced by the main stakeholders in the television industry, with implications that go much beyond this field. Lastly, Netflix’s impact on the production, distribution and consumption of audiovisual content is still to be understood in a small market such as Portugal: the current exploratory paper is also meant to be the basis of future research in Portugal about internet-distributed television.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45067918","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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