This article is an homage to two powerful women who were lost to us in 2019, as this journal issue was under way. Feminist film pioneers and superstars Barbara Hammer and Carolee Schneemann were both interviewed by Alexandra Juhasz for her Women of Vision project in the late 1990s. In 2017, now both approaching eighty years of age, both were enjoying major retrospectives in New York, and so Juhasz interviewed them again. In this text, Juhasz intercuts the four conversations, conducted over the course of twenty-five years, in an intergenerational, time-traveling retrospective in which Hammer and Schneemann comment on their own former and current laments and visions for the future.
{"title":"Coda: In Love, Anger, and Loss","authors":"A. Juhasz","doi":"10.1525/fmh.2019.5.4.87","DOIUrl":"https://doi.org/10.1525/fmh.2019.5.4.87","url":null,"abstract":"This article is an homage to two powerful women who were lost to us in 2019, as this journal issue was under way. Feminist film pioneers and superstars Barbara Hammer and Carolee Schneemann were both interviewed by Alexandra Juhasz for her Women of Vision project in the late 1990s. In 2017, now both approaching eighty years of age, both were enjoying major retrospectives in New York, and so Juhasz interviewed them again. In this text, Juhasz intercuts the four conversations, conducted over the course of twenty-five years, in an intergenerational, time-traveling retrospective in which Hammer and Schneemann comment on their own former and current laments and visions for the future.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/fmh.2019.5.4.87","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46091638","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 : 2019-07-01DOI: 10.1525/FMH.2019.5.3.140
J. Baker
This article analyzes the connections between gender, labor, and mobility by tracing the transnational careers of two Australian women who began working at the British Broadcasting Corporation (BBC) in the 1930s and 1940s: Peggie Broadhead and Muriel Howlett. Both participated in the production of media content aimed at British diasporic audiences while at the same time negotiating their own Australian national identity and sense of belonging, within an imperial framework. A close study of institutional and private archives reveals that these professional responsibilities and tensions resulted in the formation of a new transnational identity of “Dominions broadcaster.” This article reveals the agency and adaptability of Australian women working in international broadcasting, and argues that through their labor and mobility they inscribed and made real the idea of imperial and Commonwealth networks.
{"title":"Australian Women Working in British Broadcasting in the 1930s and 1940s","authors":"J. Baker","doi":"10.1525/FMH.2019.5.3.140","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.140","url":null,"abstract":"This article analyzes the connections between gender, labor, and mobility by tracing the transnational careers of two Australian women who began working at the British Broadcasting Corporation (BBC) in the 1930s and 1940s: Peggie Broadhead and Muriel Howlett. Both participated in the production of media content aimed at British diasporic audiences while at the same time negotiating their own Australian national identity and sense of belonging, within an imperial framework. A close study of institutional and private archives reveals that these professional responsibilities and tensions resulted in the formation of a new transnational identity of “Dominions broadcaster.” This article reveals the agency and adaptability of Australian women working in international broadcasting, and argues that through their labor and mobility they inscribed and made real the idea of imperial and Commonwealth networks.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.140","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47841471","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 : 2019-07-01DOI: 10.1525/FMH.2019.5.3.114
K. Murphy
Between 1926 and 1938, the Foreign Department of the British Broadcasting Corporation (BBC) played a central role in transnational broadcasting. Initially headed by a man, Major C. F. Atkinson, it would grow to become largely the domain of women. Starting in 1933, at the helm was Isa Benzie, an Oxford graduate who had joined the BBC in 1927 as Atkinson's secretary. Realizing her potential, he trained and encouraged her to deputize for him, and she was his natural successor when he resigned his post. In 1930, on Benzie's recommendation, her great friend Janet Quigley was recruited to the department. Together they oversaw international relays—the exchange of programs between different countries of the world. Benzie oversaw Europe, and Quigley, the United States. The two women operated in an area that was overwhelmingly peopled by men, and this article considers the significance of their work at a time when the gendering of broadcasting roles was the norm.
{"title":"Relay Women","authors":"K. Murphy","doi":"10.1525/FMH.2019.5.3.114","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.114","url":null,"abstract":"Between 1926 and 1938, the Foreign Department of the British Broadcasting Corporation (BBC) played a central role in transnational broadcasting. Initially headed by a man, Major C. F. Atkinson, it would grow to become largely the domain of women. Starting in 1933, at the helm was Isa Benzie, an Oxford graduate who had joined the BBC in 1927 as Atkinson's secretary. Realizing her potential, he trained and encouraged her to deputize for him, and she was his natural successor when he resigned his post. In 1930, on Benzie's recommendation, her great friend Janet Quigley was recruited to the department. Together they oversaw international relays—the exchange of programs between different countries of the world. Benzie oversaw Europe, and Quigley, the United States. The two women operated in an area that was overwhelmingly peopled by men, and this article considers the significance of their work at a time when the gendering of broadcasting roles was the norm.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.114","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44766985","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}
During World War II, US–Latin American relations were shaped by the noninterventionist Good Neighbor policy and the projection of soft power via US government-orchestrated public relations and propaganda campaigns. This included extensive film and radio propaganda overseen by the US Office of Inter-American Affairs (OIAA) and disseminated throughout the region. One dimension of that campaign involved radio propaganda aimed specifically at women, who were regaled with stories of heroic Latin American women and carefully curated female perspectives on life in the United States during wartime. In much of this material, the United States was presented as a dominant yet gentlemanly hemispheric partner, offering Latin America protection and material abundance in exchange for loyalty and deference. As the war wound down, such propaganda took a sharp turn toward the Cold War, when Good Neighbor chivalry gave way to more strident rhetoric, prefiguring a return to US interventionist politics of the prewar era.
{"title":"Buenas Vecinas?","authors":"C. Ehrick","doi":"10.1525/FMH.2019.5.3.60","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.60","url":null,"abstract":"During World War II, US–Latin American relations were shaped by the noninterventionist Good Neighbor policy and the projection of soft power via US government-orchestrated public relations and propaganda campaigns. This included extensive film and radio propaganda overseen by the US Office of Inter-American Affairs (OIAA) and disseminated throughout the region. One dimension of that campaign involved radio propaganda aimed specifically at women, who were regaled with stories of heroic Latin American women and carefully curated female perspectives on life in the United States during wartime. In much of this material, the United States was presented as a dominant yet gentlemanly hemispheric partner, offering Latin America protection and material abundance in exchange for loyalty and deference. As the war wound down, such propaganda took a sharp turn toward the Cold War, when Good Neighbor chivalry gave way to more strident rhetoric, prefiguring a return to US interventionist politics of the prewar era.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.60","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46445477","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 paper examines changing representations of women in Chinese television dramas since the early 1990s and interprets them within a framework of global socialist media cultures, considering both domestic developments and transnational trends. Drawing on the analysis of three selected dramas, it traces the trajectory of televised femininity from exemplary socialist worker-citizens devoted to family and community, to more individualized middle-class urbanites. It is tempting to see this transformation as an outcome of China's integration into the global capitalist economy, the attendant retreat of the party-state from the private realm, and the infusion of Western cultural gender ideals. Yet this interpretation downplays important continuities, and misses intriguing parallels with TV dramas produced in socialist Eastern Europe. The argument pays particular attention to the enduring appeal of the socialist-style superwoman who shoulders the double burden of a professional career and unpaid domestic work while also acting as a discerning citizen-consumer.
{"title":"A Socialist Superwoman for the New Era","authors":"Yingzi Wang, Sabina Mihelj","doi":"10.1525/FMH.2019.5.3.36","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.36","url":null,"abstract":"This paper examines changing representations of women in Chinese television dramas since the early 1990s and interprets them within a framework of global socialist media cultures, considering both domestic developments and transnational trends. Drawing on the analysis of three selected dramas, it traces the trajectory of televised femininity from exemplary socialist worker-citizens devoted to family and community, to more individualized middle-class urbanites. It is tempting to see this transformation as an outcome of China's integration into the global capitalist economy, the attendant retreat of the party-state from the private realm, and the infusion of Western cultural gender ideals. Yet this interpretation downplays important continuities, and misses intriguing parallels with TV dramas produced in socialist Eastern Europe. The argument pays particular attention to the enduring appeal of the socialist-style superwoman who shoulders the double burden of a professional career and unpaid domestic work while also acting as a discerning citizen-consumer.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.36","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41344990","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 : 2019-07-01DOI: 10.1525/FMH.2019.5.3.168
J. Lloyd
This article outlines impulses toward internationalism in women's programming during the twentieth century at two public service broadcasters: the Canadian Broadcasting Corporation (CBC) in Canada and the Australian Broadcasting Commission (ABC) in Australia. These case studies show common patterns as well as key differences in the establishment of an international frame for the modern domestic sphere. Research conducted in paper and audio recording archives relating to nonfiction programming for women demonstrates pervasive tensions between women's international versus national solidarities. The article argues that these contradictions must be highlighted—rather than papered over in a simplistic understanding of such programming as reflecting a binary domestic ideology of private versus public, home versus world—to fully understand media history and cultural memory from a gendered perspective.
{"title":"“A Girdle of Thought Thrown around the World”","authors":"J. Lloyd","doi":"10.1525/FMH.2019.5.3.168","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.168","url":null,"abstract":"This article outlines impulses toward internationalism in women's programming during the twentieth century at two public service broadcasters: the Canadian Broadcasting Corporation (CBC) in Canada and the Australian Broadcasting Commission (ABC) in Australia. These case studies show common patterns as well as key differences in the establishment of an international frame for the modern domestic sphere. Research conducted in paper and audio recording archives relating to nonfiction programming for women demonstrates pervasive tensions between women's international versus national solidarities. The article argues that these contradictions must be highlighted—rather than papered over in a simplistic understanding of such programming as reflecting a binary domestic ideology of private versus public, home versus world—to fully understand media history and cultural memory from a gendered perspective.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.168","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47688350","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 article examines how women's broadcasting promoted consciousness and appreciation of the United States during the 1930s and 1940s. These were decades in which Australians had limited access to US news and culture, and Hollywood dominated local imaginings of US society. In this climate, Australians who had lived Stateside were hailed as authorities on the nation and its people, and they often spoke on radio. Among these “America educators” were significant numbers of women. Armed with firsthand knowledge of the wider world, these female travelers could claim space in a broadcasting landscape otherwise dominated by men. Through their radio broadcasts, they aspired to foster transpacific understanding and friendship. Women's broadcasting was therefore a cultural force at the vanguard of Australia's “turn to America.” More than a manifestation of US popular culture, radio depicted the United States as an ally of and model for Australia during an era of entrenched British allegiance.
{"title":"Making Waves across the Pacific","authors":"Yves Rees","doi":"10.1525/FMH.2019.5.3.85","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.85","url":null,"abstract":"This article examines how women's broadcasting promoted consciousness and appreciation of the United States during the 1930s and 1940s. These were decades in which Australians had limited access to US news and culture, and Hollywood dominated local imaginings of US society. In this climate, Australians who had lived Stateside were hailed as authorities on the nation and its people, and they often spoke on radio. Among these “America educators” were significant numbers of women. Armed with firsthand knowledge of the wider world, these female travelers could claim space in a broadcasting landscape otherwise dominated by men. Through their radio broadcasts, they aspired to foster transpacific understanding and friendship. Women's broadcasting was therefore a cultural force at the vanguard of Australia's “turn to America.” More than a manifestation of US popular culture, radio depicted the United States as an ally of and model for Australia during an era of entrenched British allegiance.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.85","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46289594","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}
Scholarship has long demonstrated how a focus on women's roles can reveal vital new elements of broadcasting history, adding critical perspectives on institutional, aesthetic, communicatory, and participatory media narratives. This article asks: What happens if we stop looking at the stories of women in broadcasting as “media history”? What other interpretive lenses and disciplinary traditions might we draw on, and how might we insert media fruitfully within them? The work derives from research on the early years of the International Association of Women in Radio and Television (IAWRT) as read from the correspondence of founder Wilhelmina (Lilian) Posthumus-van der Goot (1897–1989), and builds on IAWRT's example to develop methodological considerations for writing entangled transnational histories of gender and broadcasting, absorbing insights from studies of international organizations, collective biographies, and reconsiderations of the archive in the digital age.
长期以来，学术界一直在证明，关注女性角色可以揭示广播历史的重要新元素，增加对制度、美学、传播和参与性媒体叙事的批判性视角。这篇文章问道：如果我们不再把女性在广播中的故事视为“媒体历史”，会发生什么？我们还可以借鉴哪些其他的解释镜头和学科传统，以及我们如何在其中富有成效地插入媒体？这项工作源于对国际广播电视妇女协会（IAWRT）早期的研究，从创始人威廉敏娜（Lilian）Posthumus van der Goot（1897-1989）的信件中可以看出，并以IAWRT的例子为基础，为撰写性别和广播的跨国历史发展方法论考虑，从国际组织研究、集体传记和对数字时代档案的重新思考中汲取见解。
{"title":"Lessons from Lilian","authors":"A. Badenoch, K. Skoog","doi":"10.1525/FMH.2019.5.3.9","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.3.9","url":null,"abstract":"Scholarship has long demonstrated how a focus on women's roles can reveal vital new elements of broadcasting history, adding critical perspectives on institutional, aesthetic, communicatory, and participatory media narratives. This article asks: What happens if we stop looking at the stories of women in broadcasting as “media history”? What other interpretive lenses and disciplinary traditions might we draw on, and how might we insert media fruitfully within them? The work derives from research on the early years of the International Association of Women in Radio and Television (IAWRT) as read from the correspondence of founder Wilhelmina (Lilian) Posthumus-van der Goot (1897–1989), and builds on IAWRT's example to develop methodological considerations for writing entangled transnational histories of gender and broadcasting, absorbing insights from studies of international organizations, collective biographies, and reconsiderations of the archive in the digital age.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.3.9","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43846323","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 : 2019-04-01DOI: 10.1525/FMH.2019.5.2.111
R. Powell
During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how hardcore as a style was taken up by the popular gay-marketed entertainment magazine After Dark. Through a close descriptive analysis of three photo spreads from 1975–76, it illuminates how female, gay male, and otherwise non-straight-identifying performers participated in a hardcore stylistic that, paradoxically, worked to shape queer elaborations of heteroeroticism. Within these vital images of singers, dancers, models, and performance artists, created at the height of hardcore's newfound cultural influence, performances of female-male coupling and group-centered socio-sexual activity both worked with and moved to dissolve normative heterosexist configurations of sex and gender.
{"title":"Hardcore Style, Queer Heteroeroticism, and After Dark","authors":"R. Powell","doi":"10.1525/FMH.2019.5.2.111","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.2.111","url":null,"abstract":"During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how hardcore as a style was taken up by the popular gay-marketed entertainment magazine After Dark. Through a close descriptive analysis of three photo spreads from 1975–76, it illuminates how female, gay male, and otherwise non-straight-identifying performers participated in a hardcore stylistic that, paradoxically, worked to shape queer elaborations of heteroeroticism. Within these vital images of singers, dancers, models, and performance artists, created at the height of hardcore's newfound cultural influence, performances of female-male coupling and group-centered socio-sexual activity both worked with and moved to dissolve normative heterosexist configurations of sex and gender.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.2.111","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46235227","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}
During the 1980s US feminist sex wars, pornography edited its own history, leaving a distorted record both less problematic and less queer than scholars have yet recognized. Academic inquiry into pornography coincided with home-video boom years, and research often took place in adult backrooms, necessarily because pornography was so poorly archived. Yet even as access has shifted from VHS to digital, the field has yet to reckon with how its interpretive frameworks were shaped by a material history in which the films that scholars watched were often altered from the versions patrons had seen in theaters. Gone from both straight and gay films were many transgressive sex acts that had frequently been staples of the genre, affecting the perceived oeuvre of nearly every hardcore filmmaker of the era. This article recovers the lost history of sexual media editing, arguing for a more carefully historicized interrogation of the commercial sources of our porn archives.
{"title":"Sanitizing the Seventies","authors":"W. Strub","doi":"10.1525/FMH.2019.5.2.19","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.2.19","url":null,"abstract":"During the 1980s US feminist sex wars, pornography edited its own history, leaving a distorted record both less problematic and less queer than scholars have yet recognized. Academic inquiry into pornography coincided with home-video boom years, and research often took place in adult backrooms, necessarily because pornography was so poorly archived. Yet even as access has shifted from VHS to digital, the field has yet to reckon with how its interpretive frameworks were shaped by a material history in which the films that scholars watched were often altered from the versions patrons had seen in theaters. Gone from both straight and gay films were many transgressive sex acts that had frequently been staples of the genre, affecting the perceived oeuvre of nearly every hardcore filmmaker of the era. This article recovers the lost history of sexual media editing, arguing for a more carefully historicized interrogation of the commercial sources of our porn archives.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.2.19","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43803464","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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