Pub Date : 2021-03-11DOI: 10.5117/9789463727334_CH03
Hester Baer
This chapter examines Wolf’s Solo Sunny (1980) and Dresen’s Summer in Berlin (2005), two films that chart the transformation of ordinary life across the period of neoliberal intensification in eastern Germany. Emphasizing the transition away from—as well as the enduring influence of—DEFA and socialist realism, this chapter also attends to the affective dimensions of the neoliberal turn by focusing on women characters who figure as seismographs of political and cultural re-orientation. This chapter and the next chapter operate in tandem to analyse films that break with conventional forms of representation to signal disaffection with prevailing circumstances. I argue that this disaffection becomes retrospectively legible in the earlier films through the pointed critique of neoliberalism developed by their later intertexts.
{"title":"From Everyday Life to the Crisis Ordinary : Films of Ordinary Life and the Resonance of DEFA","authors":"Hester Baer","doi":"10.5117/9789463727334_CH03","DOIUrl":"https://doi.org/10.5117/9789463727334_CH03","url":null,"abstract":"This chapter examines Wolf’s Solo Sunny (1980) and Dresen’s Summer in\u0000 Berlin (2005), two films that chart the transformation of ordinary life across\u0000 the period of neoliberal intensification in eastern Germany. Emphasizing\u0000 the transition away from—as well as the enduring influence of—DEFA\u0000 and socialist realism, this chapter also attends to the affective dimensions\u0000 of the neoliberal turn by focusing on women characters who figure as\u0000 seismographs of political and cultural re-orientation. This chapter and\u0000 the next chapter operate in tandem to analyse films that break with\u0000 conventional forms of representation to signal disaffection with prevailing\u0000 circumstances. I argue that this disaffection becomes retrospectively\u0000 legible in the earlier films through the pointed critique of neoliberalism\u0000 developed by their later intertexts.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115333829","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 : 2021-03-11DOI: 10.5117/9789463727334_CH02
Hester Baer
Extending attention to the relevance of Deleuze’s film theory for the German cinema of neoliberalism, this chapter builds on influential approaches to recent German film in analyzing Das Boot (1981); Run Lola Run (1998); and The Lives of Others (2006). The chapter focuses on strategies employed by German blockbusters to address international audiences while affirming the victory of global capitalist imperatives over local film traditions; it demonstrates how the predominance of commercial imperatives underpins the emergence of particular formal, aesthetic, and generic traits, which aim to subsume and diffuse the heterogeneity and variety of Germany’s legacy of counter-hegemonic filmmaking. A feminist analysis of the films emphasizes how their affirmative vision is based on an ambiguous and often misogynist gender politics.
{"title":"Producing German Cinema for the World : Global Blockbusters from Location Germany","authors":"Hester Baer","doi":"10.5117/9789463727334_CH02","DOIUrl":"https://doi.org/10.5117/9789463727334_CH02","url":null,"abstract":"Extending attention to the relevance of Deleuze’s film theory for the\u0000 German cinema of neoliberalism, this chapter builds on influential approaches\u0000 to recent German film in analyzing Das Boot (1981); Run Lola Run\u0000 (1998); and The Lives of Others (2006). The chapter focuses on strategies\u0000 employed by German blockbusters to address international audiences\u0000 while affirming the victory of global capitalist imperatives over local\u0000 film traditions; it demonstrates how the predominance of commercial\u0000 imperatives underpins the emergence of particular formal, aesthetic,\u0000 and generic traits, which aim to subsume and diffuse the heterogeneity\u0000 and variety of Germany’s legacy of counter-hegemonic filmmaking. A\u0000 feminist analysis of the films emphasizes how their affirmative vision is\u0000 based on an ambiguous and often misogynist gender politics.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126068311","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 : 2021-03-11DOI: 10.5117/9789463727334_CH06
Hester Baer
This chapter brings into sharper focus the theme of precarity by analyzing films about labour, money, and debt that train a lens on precarious, racialized bodies made disposable in and by global neoliberalism: Arslan’s Dealer (1998); Maccarone’s Unveiled (2005); Akın’s The Edge of Heaven (2007); and Petzold’s Jerichow (2008). Considering how these films find a form to depict labour, money, and debt, this chapter develops indebtedness as a trope that binds together their narrative and aesthetic language. These films contribute to the reconfiguration of German national cinema by centering migrant characters, reflecting on their perspectives and experiences, and making visible their subaltern status, while also developing their representation via an explicit engagement with German film history.
{"title":"Refiguring National Cinema in Films about Labour, Money, and Debt","authors":"Hester Baer","doi":"10.5117/9789463727334_CH06","DOIUrl":"https://doi.org/10.5117/9789463727334_CH06","url":null,"abstract":"This chapter brings into sharper focus the theme of precarity by analyzing\u0000 films about labour, money, and debt that train a lens on precarious,\u0000 racialized bodies made disposable in and by global neoliberalism: Arslan’s\u0000 Dealer (1998); Maccarone’s Unveiled (2005); Akın’s The Edge of Heaven\u0000 (2007); and Petzold’s Jerichow (2008). Considering how these films find a\u0000 form to depict labour, money, and debt, this chapter develops indebtedness\u0000 as a trope that binds together their narrative and aesthetic language.\u0000 These films contribute to the reconfiguration of German national cinema\u0000 by centering migrant characters, reflecting on their perspectives and\u0000 experiences, and making visible their subaltern status, while also developing\u0000 their representation via an explicit engagement with German film\u0000 history.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122151657","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 : 2021-03-11DOI: 10.5117/9789463727334_INTRO
Hester Baer
Christian Petzold’s Yella (2007) helps to establish the parameters for reconsidering German film in the context of neoliberalism. Yella develops formal interventions into audiovisual language to make the structures and affects of neoliberalism visible; it exposes neoliberalism as a highly gendered cultural formation; and its ability to create images of the present is contingent not only on representational practices, but also on its mode of production. Following a brief analysis of Yella as an emblematic film, this introduction provides a critical overview of approaches to neoliberalism and offers a short history of neoliberalism in Germany. It concludes by outlining the contributions of the book and its feminist approach for making neoliberalism visible.
{"title":"Introduction: Making Neoliberalism Visible","authors":"Hester Baer","doi":"10.5117/9789463727334_INTRO","DOIUrl":"https://doi.org/10.5117/9789463727334_INTRO","url":null,"abstract":"Christian Petzold’s Yella (2007) helps to establish the parameters for\u0000 reconsidering German film in the context of neoliberalism. Yella develops\u0000 formal interventions into audiovisual language to make the structures\u0000 and affects of neoliberalism visible; it exposes neoliberalism as a highly\u0000 gendered cultural formation; and its ability to create images of the present\u0000 is contingent not only on representational practices, but also on its mode of\u0000 production. Following a brief analysis of Yella as an emblematic film, this\u0000 introduction provides a critical overview of approaches to neoliberalism\u0000 and offers a short history of neoliberalism in Germany. It concludes by\u0000 outlining the contributions of the book and its feminist approach for\u0000 making neoliberalism visible.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":" 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120830616","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 : 2021-03-11DOI: 10.5117/9789463727334_CH04
Hester Baer
This chapter analyses Ottinger’s Ticket of No Return (1979) and Turanskyj’s The Drifter (2010), bringing into focus the imprint of West German feminist filmmaking on contemporary cinema, despite the significant undermining and obscuring of its legacy via processes of privatization and media conglomeration. Like the films discussed in the previous chapter, the two films under consideration here engage themes of refusal and disaffection with the status quo at the levels of both form and content. Focusing on women protagonists in Berlin who exhibit gender, sexual, and class mobility and refuse to accede to regimes of normativity, these films demonstrate how responsibilization, flexibilization, and professionalization emerge as “solutions” to problems of agency and sovereignty in neoliberal capitalism.
{"title":"Future Feminism : Political Filmmaking and the Resonance of the West German Feminist Film Movement","authors":"Hester Baer","doi":"10.5117/9789463727334_CH04","DOIUrl":"https://doi.org/10.5117/9789463727334_CH04","url":null,"abstract":"This chapter analyses Ottinger’s Ticket of No Return (1979) and Turanskyj’s\u0000 The Drifter (2010), bringing into focus the imprint of West German feminist\u0000 filmmaking on contemporary cinema, despite the significant undermining\u0000 and obscuring of its legacy via processes of privatization and media\u0000 conglomeration. Like the films discussed in the previous chapter, the two\u0000 films under consideration here engage themes of refusal and disaffection\u0000 with the status quo at the levels of both form and content. Focusing on\u0000 women protagonists in Berlin who exhibit gender, sexual, and class mobility\u0000 and refuse to accede to regimes of normativity, these films demonstrate\u0000 how responsibilization, flexibilization, and professionalization emerge as\u0000 “solutions” to problems of agency and sovereignty in neoliberal capitalism.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114193829","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 : 2021-03-11DOI: 10.5117/9789463727334_CH01
Hester Baer
This chapter examines two films about the transitional status of cinema around 1980, Wenders’s The State of Things (1982), and Gusner’s All My Girls (1980). Situating these films in relation to Deleuze’s influential Cinema books, written in response to the crisis of cinema that both films narrate, I analyse these films as exemplifications of Deleuze’s crystal-image, a figure that helps explicate the way they make visible the cinematic confrontation between time and money. Both films discursively anticipate events of the neoliberal turn, demonstrating the impending triumph of market principles over the national-cultural film project represented by the New German Cinema and DEFA. This chapter offers a feminist-queer reading of how both films disrupt normative timelines to open up alternative imaginaries.
{"title":"German Cinema and the Neoliberal Turn : The End of the National-Cultural Film Project","authors":"Hester Baer","doi":"10.5117/9789463727334_CH01","DOIUrl":"https://doi.org/10.5117/9789463727334_CH01","url":null,"abstract":"This chapter examines two films about the transitional status of cinema\u0000 around 1980, Wenders’s The State of Things (1982), and Gusner’s All My Girls\u0000 (1980). Situating these films in relation to Deleuze’s influential Cinema\u0000 books, written in response to the crisis of cinema that both films narrate, I\u0000 analyse these films as exemplifications of Deleuze’s crystal-image, a figure\u0000 that helps explicate the way they make visible the cinematic confrontation\u0000 between time and money. Both films discursively anticipate events of the\u0000 neoliberal turn, demonstrating the impending triumph of market principles\u0000 over the national-cultural film project represented by the New German\u0000 Cinema and DEFA. This chapter offers a feminist-queer reading of how\u0000 both films disrupt normative timelines to open up alternative imaginaries.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124735066","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 : 2021-03-11DOI: 10.5117/9789463727334_CH05
Hester Baer
This chapter examines a boundary-crossing archive of popular and countercinematic West, East, and post-unification German films that all focus on precarious intimacies: Dörrie’s Men (1985); Wortmann’s Maybe…Maybe Not (1994); Carow’s Coming Out (1989); and Grisebach’s Longing (2006). Shifting focus onto a consideration of men and masculinity in the postfeminist era, I analyze how these films subject the heteropatriarchal family to scrutiny, often exploring homosocial bonds and queer relations. In addition to investigating the precaritization of gender, sexuality, and intimacy pictured by these four films, this chapter sheds new light on the much vaunted “return to genre” in the German cinema of neoliberalism.
{"title":"The Failing Family : Changing Constellations of Gender, Intimacy, and Genre","authors":"Hester Baer","doi":"10.5117/9789463727334_CH05","DOIUrl":"https://doi.org/10.5117/9789463727334_CH05","url":null,"abstract":"This chapter examines a boundary-crossing archive of popular and\u0000 countercinematic West, East, and post-unification German films that\u0000 all focus on precarious intimacies: Dörrie’s Men (1985); Wortmann’s\u0000 Maybe…Maybe Not (1994); Carow’s Coming Out (1989); and Grisebach’s\u0000 Longing (2006). Shifting focus onto a consideration of men and masculinity\u0000 in the postfeminist era, I analyze how these films subject the\u0000 heteropatriarchal family to scrutiny, often exploring homosocial bonds\u0000 and queer relations. In addition to investigating the precaritization\u0000 of gender, sexuality, and intimacy pictured by these four films, this\u0000 chapter sheds new light on the much vaunted “return to genre” in the\u0000 German cinema of neoliberalism.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129047453","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 : 2021-03-11DOI: 10.5117/9789463727334_CONCL
Hester Baer
In a key scene toward the end of Maren Ade’s Toni Erdmann (2016), Ines (Sandra Hüller), a management consultant in Bucharest, hosts a brunch party to celebrate her birthday. An exemplary neoliberal subject, Ines knows only work and the constant quest for self-optimization; accordingly, her birthday brunch has been organized as a team-building event for her management group, whose mission to modernize a Romanian oil company through the massive outsourcing of jobs has caused strife among her colleagues. However, when the doorbell rings just as she is struggling with a wardrobe malfunction, Ines answers the door naked, and spontaneously decides only to admit guests to the party who agree to shed their clothes as well. Initially repelled by the naked party, several of her colleagues surmise that it must be part of the team-building exercise and awkwardly stand around Ines’s living room sipping wine in the nude. Toni Erdmann chronicles the attempts of Ines’s father Winfried (Peter Simonischek), a retired music teacher with a penchant for practical jokes, to puncture the glossy façade of Ines’s life, which, as he suspects, belies her insecurity, obstructed agency, and ultimate emptiness. He does this by adopting an array of wigs, prostheses, masks, and personae—notably that of the ‘life coach’ Toni Erdmann—that call attention to the performance of the self enacted by Ines and her business-world colleagues, a mode of self-fashioning whose ostensibly blank style makes it otherwise illegible as performance. At the naked brunch, Winfried arrives in his most extravagant get-up yet: clothed as a Kukeri, he wears a traditional Bulgarian costume designed to ward away evil spirits that consists of a full-body suit covered in long, dark hair, replete with a massive mask decorated in bright pompoms. His strange and troubling presence at the party, where no one can determine his identity beneath the hairy mask, further disturbs the already immensely uncomfortable guests. Awkward, unsettling, and hilarious, this scene employs slapstick comedy and visual jokes to generate an affective response among viewers that conjoins laughter with discomfort. Like Toni Erdmann as a whole, the naked brunch scene makes visible the illusion of
{"title":"Conclusion: German Cinema in the Age of Neoliberalism","authors":"Hester Baer","doi":"10.5117/9789463727334_CONCL","DOIUrl":"https://doi.org/10.5117/9789463727334_CONCL","url":null,"abstract":"In a key scene toward the end of Maren Ade’s Toni Erdmann (2016), Ines (Sandra Hüller), a management consultant in Bucharest, hosts a brunch party to celebrate her birthday. An exemplary neoliberal subject, Ines knows only work and the constant quest for self-optimization; accordingly, her birthday brunch has been organized as a team-building event for her management group, whose mission to modernize a Romanian oil company through the massive outsourcing of jobs has caused strife among her colleagues. However, when the doorbell rings just as she is struggling with a wardrobe malfunction, Ines answers the door naked, and spontaneously decides only to admit guests to the party who agree to shed their clothes as well. Initially repelled by the naked party, several of her colleagues surmise that it must be part of the team-building exercise and awkwardly stand around Ines’s living room sipping wine in the nude. Toni Erdmann chronicles the attempts of Ines’s father Winfried (Peter Simonischek), a retired music teacher with a penchant for practical jokes, to puncture the glossy façade of Ines’s life, which, as he suspects, belies her insecurity, obstructed agency, and ultimate emptiness. He does this by adopting an array of wigs, prostheses, masks, and personae—notably that of the ‘life coach’ Toni Erdmann—that call attention to the performance of the self enacted by Ines and her business-world colleagues, a mode of self-fashioning whose ostensibly blank style makes it otherwise illegible as performance. At the naked brunch, Winfried arrives in his most extravagant get-up yet: clothed as a Kukeri, he wears a traditional Bulgarian costume designed to ward away evil spirits that consists of a full-body suit covered in long, dark hair, replete with a massive mask decorated in bright pompoms. His strange and troubling presence at the party, where no one can determine his identity beneath the hairy mask, further disturbs the already immensely uncomfortable guests. Awkward, unsettling, and hilarious, this scene employs slapstick comedy and visual jokes to generate an affective response among viewers that conjoins laughter with discomfort. Like Toni Erdmann as a whole, the naked brunch scene makes visible the illusion of","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133852083","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 chapter brings into sharper focus the theme of precarity by analyzing films about labour, money, and debt that train a lens on precarious, racialized bodies made disposable in and by global neoliberalism: Arslan’s Dealer (1998); Maccarone’s Unveiled (2005); Akın’s The Edge of Heaven (2007); and Petzold’s Jerichow (2008). Considering how these films find a form to depict labour, money, and debt, this chapter develops indebtedness as a trope that binds together their narrative and aesthetic language. These films contribute to the reconfiguration of German national cinema by centering migrant characters, reflecting on their perspectives and experiences, and making visible their subaltern status, while also developing their representation via an explicit engagement with German film history.
{"title":"Refiguring National Cinema in Films about Labour, Money, and Debt","authors":"Thomas Arslan, A. Maccarone, F. Akin","doi":"10.2307/j.ctv1hp5hnv.10","DOIUrl":"https://doi.org/10.2307/j.ctv1hp5hnv.10","url":null,"abstract":"This chapter brings into sharper focus the theme of precarity by analyzing films about labour, money, and debt that train a lens on precarious, racialized bodies made disposable in and by global neoliberalism: Arslan’s Dealer (1998); Maccarone’s Unveiled (2005); Akın’s The Edge of Heaven (2007); and Petzold’s Jerichow (2008). Considering how these films find a form to depict labour, money, and debt, this chapter develops indebtedness as a trope that binds together their narrative and aesthetic language. These films contribute to the reconfiguration of German national cinema by centering migrant characters, reflecting on their perspectives and experiences, and making visible their subaltern status, while also developing their representation via an explicit engagement with German film history.","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127145455","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":"Producing German Cinema for the World:","authors":"","doi":"10.2307/j.ctv1hp5hnv.6","DOIUrl":"https://doi.org/10.2307/j.ctv1hp5hnv.6","url":null,"abstract":"","PeriodicalId":377356,"journal":{"name":"German Cinema in the Age of Neoliberalism","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127103900","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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