Pub Date : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0008
Ivone Margulies
This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory on Brazilian exploitation in the 1970s; it reads Tonacci’s untranslated communications by Carapiru as a willed form of opacity, an enforced, enacted process of dislocation and alienation and an indictment of Brazilian politics, a process termed “a-filiation.”
这一章讨论了Serras da Desordem(混乱之山)(Andrea Tonacci, 2007)，它讲述了一个孤立的印第安人，他重演了30年前发生的暴行，包括他的流离失所和流浪，直到与一个牧场主的家人联系，并最终重新加入他的部落。本章分析了电影的混合纹理，它将重现的场景与档案、电视和媒体图像的混合，以及电影在巴西历史上多个剥削实例的记录中的含义。它还研究了两部回归20年前发生的事件的大跨度电影——《20年后:一个注定要死的人》(爱德华多·库蒂尼奥，1964-1984)和《科伦比亚拉》(文森特·卡雷利，2006)，它们讲述了与孤立的土著群体的首次接触，并与托纳奇的回归方法和巴西历史进行了比较。这一章考虑了托纳奇的自我民族志早期项目和他的实验电影与这个雄心勃勃的寓言在20世纪70年代的巴西剥削;它将托纳奇的卡拉皮鲁未翻译的通信视为一种有意的不透明形式，一种强制的、制定的错位和异化过程，以及对巴西政治的控诉，这一过程被称为“结盟”。
{"title":"Reenactment and A-filiation in Serras da Desordem","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0008","url":null,"abstract":"This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory on Brazilian exploitation in the 1970s; it reads Tonacci’s untranslated communications by Carapiru as a willed form of opacity, an enforced, enacted process of dislocation and alienation and an indictment of Brazilian politics, a process termed “a-filiation.”","PeriodicalId":406865,"journal":{"name":"In Person","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124461066","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 : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0001
Ivone Margulies
This introductory chapter starts with a brief analysis of Abbas Kiarostami’s Close-Up (1990) and the way in which reenactment serves as an ethical instrument for adjudicating motives and agency. It defines the import of in-person reenactment as a confessional-performative cinema genre distinct from other forms of dramatic reconstruction and historical or biographical illustration using actors or social actors. The notion of in-person reenactment, a mode of making public one’s past on camera so as to provide an exemplary narrative on film, is introduced as a motor of self-revision in cinema, a mode that parallels major cinematic movements of postwar realism.
{"title":"Estrangement and Exemplarity","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0001","url":null,"abstract":"This introductory chapter starts with a brief analysis of Abbas Kiarostami’s Close-Up (1990) and the way in which reenactment serves as an ethical instrument for adjudicating motives and agency. It defines the import of in-person reenactment as a confessional-performative cinema genre distinct from other forms of dramatic reconstruction and historical or biographical illustration using actors or social actors. The notion of in-person reenactment, a mode of making public one’s past on camera so as to provide an exemplary narrative on film, is introduced as a motor of self-revision in cinema, a mode that parallels major cinematic movements of postwar realism.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"177 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131266616","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 : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0003
Ivone Margulies
This chapter examines the Italian cinema contexts for Cesare Zavattini’s radical reconception of the notion of the nonprofessional actor—that everyone acts his or her life on camera—during the waning of neorealism. Pedinamento, closely tracking an event, and film-lampo, the investigation film, are analyzed as a transition from neorealist precepts to a verité focus on named individuals who turn their lives into exemplary narratives. Episodes from Love in the City (1953)—Zavattini and Maselli’s The Story of Caterina and Antonioni’s Attempted Suicides—are analyzed in their articulation of narrative of self-revision. A complementary omnibus project We the Women (1953) on famous stars’ everyday existence suggests the ways early 1950s reenactment engages thematically with the star system (e.g., Guarini’s Contest: 4 Actresses; 1 Hope, Franciolini’s Alida Valli) and with questions of authenticity and theatricality. In-person reenactment leads to modern cinema hybrids mixing acting and self-presentation (e.g., Visconti’s take on Magnani, Rossellini’s on Bergman).
这一章考察了在新现实主义衰落时期，切萨雷·扎瓦蒂尼对非职业演员概念的激进重新认识的意大利电影背景——每个人都在镜头前表演他或她的生活。《Pedinamento》是一部密切追踪事件的影片，《film-lampo》是一部调查片，它们被分析为从新现实主义戒律到真实关注那些把自己的生活变成典范叙事的无名个人的过渡。分析了《都市之恋》(1953)中扎瓦蒂尼和马塞利的《卡特琳娜的故事》和安东尼奥尼的《自杀未遂》两集对自我修正叙事的表达。一个关于著名明星日常生活的补充综合项目We the Women(1953)表明，20世纪50年代早期的再现方式在主题上与明星系统相结合(例如，Guarini的竞赛:4位女演员;《希望1》，弗兰西奥利尼的《阿莉达·瓦利》)，以及真实性和戏剧性的问题。亲自重演导致现代电影将表演和自我呈现混合在一起(例如，维斯康蒂对马格纳尼的演绎，罗西里尼对伯格曼的演绎)。
{"title":"Neorealist Reenactment as Postwar Pedagogy","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0003","url":null,"abstract":"This chapter examines the Italian cinema contexts for Cesare Zavattini’s radical reconception of the notion of the nonprofessional actor—that everyone acts his or her life on camera—during the waning of neorealism. Pedinamento, closely tracking an event, and film-lampo, the investigation film, are analyzed as a transition from neorealist precepts to a verité focus on named individuals who turn their lives into exemplary narratives. Episodes from Love in the City (1953)—Zavattini and Maselli’s The Story of Caterina and Antonioni’s Attempted Suicides—are analyzed in their articulation of narrative of self-revision. A complementary omnibus project We the Women (1953) on famous stars’ everyday existence suggests the ways early 1950s reenactment engages thematically with the star system (e.g., Guarini’s Contest: 4 Actresses; 1 Hope, Franciolini’s Alida Valli) and with questions of authenticity and theatricality. In-person reenactment leads to modern cinema hybrids mixing acting and self-presentation (e.g., Visconti’s take on Magnani, Rossellini’s on Bergman).","PeriodicalId":406865,"journal":{"name":"In Person","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123909012","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 : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0007
Ivone Margulies
This chapter examines Rithy Pahn’s S21: The Khmer Rouge Killing Machine and its disturbing tableaus featuring the ex-guards of S21 reenacting acts of torture and reciting documents extracted under duress at the very site where these atrocities were committed. Following an interest in the dissonant effects of spare, empty sites, this chapter explores the affinity between contemporary reenactment film and juridical and psychoanalytic discourse; it considers the theatrical effects of the perpetrators’ affectless behavior in relation to notions of traumatic reenactment, and it posits, through close readings of a number of scenes, a parajuridical aesthetics based on a triangulation between performance, recitation, and a narrating figure that serves as judge/professor. Panh’s articulation of an indicting, evidentiary structure and of a disturbing witnessing position for the viewer are analyzed in contrast to documentaries made around and about the International Court of Cambodjian Crimes, including juridical reconstructions at the site.
{"title":"Trial Stages","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0007","url":null,"abstract":"This chapter examines Rithy Pahn’s S21: The Khmer Rouge Killing Machine and its disturbing tableaus featuring the ex-guards of S21 reenacting acts of torture and reciting documents extracted under duress at the very site where these atrocities were committed. Following an interest in the dissonant effects of spare, empty sites, this chapter explores the affinity between contemporary reenactment film and juridical and psychoanalytic discourse; it considers the theatrical effects of the perpetrators’ affectless behavior in relation to notions of traumatic reenactment, and it posits, through close readings of a number of scenes, a parajuridical aesthetics based on a triangulation between performance, recitation, and a narrating figure that serves as judge/professor. Panh’s articulation of an indicting, evidentiary structure and of a disturbing witnessing position for the viewer are analyzed in contrast to documentaries made around and about the International Court of Cambodjian Crimes, including juridical reconstructions at the site.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121267835","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 : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0006
Ivone Margulies
This chapter investigates the relationship between the spare, concentrated theatricality aesthetics favored by post-Holocaust cinema and the imperatives of modern and contemporary testimonial reenactment in posttraumatic situations. It examines the convergence between cinema, the courtroom, and in-person reenactment in Rouch, Morin, and Lanzmann’s cinema, discussing how the viewer is implicated in these post-verité reenactments (Williams, Nichols). The chapter looks in particular to the monologue reenactment as a privileged form of testimonial in situations evoking atrocities (Ganda’s monologue in Moi un Noir, Marceline’s in Chronicle of a Summer, and Karski’s in The Karski’s Report). It relates these films’ conflation of past and present to other revisitations of empty sites in Night and Fog and testimony films such as Time of the Ghetto (Rossif, 1961) as well as Loridan Iven’s La petite prairie aux bouleaux. And it discusses the repetitive movements of Lanzmann’s touching camera as a form of phatic reenactment.
{"title":"Ascetic Stages","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0006","url":null,"abstract":"This chapter investigates the relationship between the spare, concentrated theatricality aesthetics favored by post-Holocaust cinema and the imperatives of modern and contemporary testimonial reenactment in posttraumatic situations. It examines the convergence between cinema, the courtroom, and in-person reenactment in Rouch, Morin, and Lanzmann’s cinema, discussing how the viewer is implicated in these post-verité reenactments (Williams, Nichols). The chapter looks in particular to the monologue reenactment as a privileged form of testimonial in situations evoking atrocities (Ganda’s monologue in Moi un Noir, Marceline’s in Chronicle of a Summer, and Karski’s in The Karski’s Report). It relates these films’ conflation of past and present to other revisitations of empty sites in Night and Fog and testimony films such as Time of the Ghetto (Rossif, 1961) as well as Loridan Iven’s La petite prairie aux bouleaux. And it discusses the repetitive movements of Lanzmann’s touching camera as a form of phatic reenactment.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130748430","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 : 2019-02-04DOI: 10.1093/oso/9780190496821.003.0004
Ivone Margulies
This chapter analyzes two stars’ biopics from the 1950s: Carlos Velo’s Torero! on bullfighter Luis Procuna and Sophia: Her Own Story (1980) featuring the famous Loren playing herself and her mother in a TV biopic. The chapter analyzes the constraints posed to celebrity self-reenactment: how different temporal orders: of biology (the star’s aging body), the recurrent circuitry of star iconography, and the flexible order of aesthetic representation balance precariously in these narratives. Taking the cue from André Bazin’s analysis on bullfighting and death in the cinema, this chapter analyzes the specific roles of archival footage and of reenactment in star biopics. In particular, it looks at how reenactment’s temporal indeterminacy contrasts with documentary images of bullfights. The chapter situates Velo’s work within Mexican experiments with ciné-verdad as well as Zavattini’s international influence in these efforts in 1950s Mexico.
{"title":"Celebrity Reenactment, Biopic, and the Mortal Body","authors":"Ivone Margulies","doi":"10.1093/oso/9780190496821.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190496821.003.0004","url":null,"abstract":"This chapter analyzes two stars’ biopics from the 1950s: Carlos Velo’s Torero! on bullfighter Luis Procuna and Sophia: Her Own Story (1980) featuring the famous Loren playing herself and her mother in a TV biopic. The chapter analyzes the constraints posed to celebrity self-reenactment: how different temporal orders: of biology (the star’s aging body), the recurrent circuitry of star iconography, and the flexible order of aesthetic representation balance precariously in these narratives. Taking the cue from André Bazin’s analysis on bullfighting and death in the cinema, this chapter analyzes the specific roles of archival footage and of reenactment in star biopics. In particular, it looks at how reenactment’s temporal indeterminacy contrasts with documentary images of bullfights. The chapter situates Velo’s work within Mexican experiments with ciné-verdad as well as Zavattini’s international influence in these efforts in 1950s Mexico.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122722369","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 : 2019-02-04DOI: 10.1093/OSO/9780190496821.003.0002
Ivone Margulies
This chapter briefly situates approaches to early cinema reenactment and embodied spectatorship (Allison Griffith, Kristen Whissel, Mary Ann Doane) as well as the reception for reconstructions of past events (Miriam Hansen and Dan Streible). It reflects on the notion of social representativity prevalent in 1930s cinema as well as the reasons why the choice of actual members of a family may or may not matter in reenactment (Joris Ivens, Robert Flaherty, and Georges Rouquier). The chapter focuses on attempts to address the limits of reenactment through genetic links or an overemphasis on literalness: Orson Welles’s Four Men in a Raft (one of the episodes [1942] projected for It’s All True and reconstructed in 1993); Leslie Woodhead and Bud Greenspan’s Endurance, the reenacted biography of Haile Gebrselassie the Olympic runner, cast with many of his family members; and Zhang Yuan’s Sons, where an entire family reenacts the period prior to the internment of the father for alcoholism.
本章简要介绍了早期电影再现和具体化观众的方法(艾莉森·格里菲斯、克里斯汀·维塞尔、玛丽·安·多恩)，以及对过去事件的重建的接受(米里亚姆·汉森和丹·斯特里布尔)。它反映了20世纪30年代电影中流行的社会代表性概念，以及为什么家庭实际成员的选择在重演中可能重要，也可能不重要(Joris Ivens, Robert Flaherty和Georges Rouquier)。这一章的重点是试图通过基因联系或过分强调字面意义来解决重演的局限性:奥逊·威尔斯的《木筏上的四个人》(1942年为《一切都是真的》计划的情节之一，并于1993年重建);莱斯利·伍德黑德(Leslie Woodhead)和巴德·格林斯潘(Bud Greenspan)的《耐力》(Endurance)，这是奥运会赛跑运动员海尔·格布雷塞拉西(Haile Gebrselassie)传记的翻拍版，演员包括他的许多家庭成员;和张源的儿子们，在那里，整个家庭重演了父亲因酗酒被拘留之前的时期。
{"title":"Casting Relatives","authors":"Ivone Margulies","doi":"10.1093/OSO/9780190496821.003.0002","DOIUrl":"https://doi.org/10.1093/OSO/9780190496821.003.0002","url":null,"abstract":"This chapter briefly situates approaches to early cinema reenactment and embodied spectatorship (Allison Griffith, Kristen Whissel, Mary Ann Doane) as well as the reception for reconstructions of past events (Miriam Hansen and Dan Streible). It reflects on the notion of social representativity prevalent in 1930s cinema as well as the reasons why the choice of actual members of a family may or may not matter in reenactment (Joris Ivens, Robert Flaherty, and Georges Rouquier). The chapter focuses on attempts to address the limits of reenactment through genetic links or an overemphasis on literalness: Orson Welles’s Four Men in a Raft (one of the episodes [1942] projected for It’s All True and reconstructed in 1993); Leslie Woodhead and Bud Greenspan’s Endurance, the reenacted biography of Haile Gebrselassie the Olympic runner, cast with many of his family members; and Zhang Yuan’s Sons, where an entire family reenacts the period prior to the internment of the father for alcoholism.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122544223","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 : 2019-01-24DOI: 10.1093/OSO/9780190496821.003.0005
Ivone Margulies
This chapter explores the political and cultural contours of the late 1950s impetus for autocritique in France, focusing on two films engaged with antiracist role-play and self-awareness: The Human Pyramid (Jean Rouch, 1959) and Chronicle of a Summer (Rouch and Morin, 1961). The chapter tracks the reception of psychodrama and group dynamics in late 1950s France correlating interests on authenticity, self-determination, and racism apparent in publications such as Arguments (Morin’s coedited journal) to cinema verité’s intent to stage a transformative process on camera. This program coalesces in Chronicle’s notorious postscreening scene, and it also emerges in The Human Pyramid’s suspended resolution in achieving an integration between French and African students at a high school in Ivory Coast. The quandaries of trying to register process in film are highlighted in the fixation with authentic emergent speech in cinema verité and in analyses of the brilliant ruptures of registers in The Human Pyramid.
{"title":"A Sort of Psychodrama","authors":"Ivone Margulies","doi":"10.1093/OSO/9780190496821.003.0005","DOIUrl":"https://doi.org/10.1093/OSO/9780190496821.003.0005","url":null,"abstract":"This chapter explores the political and cultural contours of the late 1950s impetus for autocritique in France, focusing on two films engaged with antiracist role-play and self-awareness: The Human Pyramid (Jean Rouch, 1959) and Chronicle of a Summer (Rouch and Morin, 1961). The chapter tracks the reception of psychodrama and group dynamics in late 1950s France correlating interests on authenticity, self-determination, and racism apparent in publications such as Arguments (Morin’s coedited journal) to cinema verité’s intent to stage a transformative process on camera. This program coalesces in Chronicle’s notorious postscreening scene, and it also emerges in The Human Pyramid’s suspended resolution in achieving an integration between French and African students at a high school in Ivory Coast. The quandaries of trying to register process in film are highlighted in the fixation with authentic emergent speech in cinema verité and in analyses of the brilliant ruptures of registers in The Human Pyramid.","PeriodicalId":406865,"journal":{"name":"In Person","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132839665","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：