Abstract Carlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – Flamenco (1995), Iberia (2005), Fados (2007), Flamenco Flamenco (2010), Argentina (Zonda, folclore argentino, 2015) and Jota de Saura (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality.
卡洛斯·绍拉(Carlos Saura)所称的“纯粹音乐剧”高度依赖于图像的形式属性和在极简主义景观空间中对光线的表现力运用。虽然，它们还没有被宣布为屏幕作品(根据Rosenberg 2012)，它们将有节奏的身体动作与基于屏幕的技术媒介渲染方法结合在一起，但它们是成熟的屏幕例子，是混合的，共生的，整体的(Richard James Allen, 2006)。本文主要关注2005年以来萨拉的音乐剧——弗拉门戈(1995)，伊比利亚(2005)，法多斯(2007)，弗拉门戈弗拉门戈(2010)，阿根廷(Zonda, folclore argentino, 2015)和Jota de Saura(2016)——特别是通过使用实时视频馈馈线作为中间感官设备进行沉浸式调解。索拉的柔滑、光滑、有光泽的图像形成了一个光学-触觉连续体。在吉尔·德勒兹(Gilles Deleuze)对现代电影的感知中，双重身体、数字替身和骨肉充当了结晶的诱导者，因为它们在电影流中相互作用和交替，形成了一个回路。因此，一个记录的舞台表演图像进入了与电影的关系，一种已经被赋予反思特征的媒介，产生了这些银幕电影的结晶，所有这些电影都是沉浸式的和感性的。
{"title":"Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed","authors":"Fátima Chinita","doi":"10.2478/ausfm-2023-0009","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0009","url":null,"abstract":"Abstract Carlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – Flamenco (1995), Iberia (2005), Fados (2007), Flamenco Flamenco (2010), Argentina (Zonda, folclore argentino, 2015) and Jota de Saura (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76725565","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}
Abstract The article discusses The Lobster (2015) by Yorgos Lanthimos in connection with the concepts of transcendence and immanence, morality and ethics. This film is a dystopia that critically reveals the relationship between modernity and morality and draws attention with its objections to transcendental moral values. Therefore, in this study, the film is the subject of a discussion mainly focusing on the loss of control of modern individuals over their own lives under the pressure of transcendent values and moral systems that produce hierarchy. The film is evaluated on the axis of Spinoza’s approach to immanence ethics. The distinction between morality and ethics, which stands out in Spinoza’s philosophy of immanence, and the association of morality with transcendence and ethics with immanence form the basis of the analysis of the film. Criticisms of transcendence and morality are hidden in the ironic style that is based on Cartesian oppositions such as nature–culture, good–evil, mind–body, woman–man, rule-illegal, similarity–difference in the film. In addition, the emphasis on the lack of emotion in the film is an important part of the critical style of the film in terms of the role that Spinoza assigns to the affects in the context of activating the conatus.
{"title":"Immanence, Ethics and Dystopia in The Lobster by Yorgos Lanthimos","authors":"Kevser Akyol Oktan","doi":"10.2478/ausfm-2023-0010","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0010","url":null,"abstract":"Abstract The article discusses The Lobster (2015) by Yorgos Lanthimos in connection with the concepts of transcendence and immanence, morality and ethics. This film is a dystopia that critically reveals the relationship between modernity and morality and draws attention with its objections to transcendental moral values. Therefore, in this study, the film is the subject of a discussion mainly focusing on the loss of control of modern individuals over their own lives under the pressure of transcendent values and moral systems that produce hierarchy. The film is evaluated on the axis of Spinoza’s approach to immanence ethics. The distinction between morality and ethics, which stands out in Spinoza’s philosophy of immanence, and the association of morality with transcendence and ethics with immanence form the basis of the analysis of the film. Criticisms of transcendence and morality are hidden in the ironic style that is based on Cartesian oppositions such as nature–culture, good–evil, mind–body, woman–man, rule-illegal, similarity–difference in the film. In addition, the emphasis on the lack of emotion in the film is an important part of the critical style of the film in terms of the role that Spinoza assigns to the affects in the context of activating the conatus.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74868241","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}
Abstract Since the turn of the 2000s, the institution of the museum has become increasingly open and participatory, with an emphasis not only on engaging the public, but also on active involvement, community empowerment and shared knowledge creation. The resulting process, in which the museum adapts new methodologies to its toolkit, entails the introduction of participatory video. In this article, the author examines how participatory video can be used as a museum pedagogical and/or method of mediation. Through selected examples, she presents the methodology of participatory filmmaking and its adaptations in museums, analysing the project The Living Cultures: Decolonising Cultural Spaces (2020). She also presents two participatory filmmaking museum sessions in Hungary: the Participatory Filmmaking Camp of the Hungarian Jewish Museum (2015) and the MyStory pilot project of the Sopron Museum (2018).1
{"title":"Participatory Video in the Museum","authors":"K. Varga","doi":"10.2478/ausfm-2023-0007","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0007","url":null,"abstract":"Abstract Since the turn of the 2000s, the institution of the museum has become increasingly open and participatory, with an emphasis not only on engaging the public, but also on active involvement, community empowerment and shared knowledge creation. The resulting process, in which the museum adapts new methodologies to its toolkit, entails the introduction of participatory video. In this article, the author examines how participatory video can be used as a museum pedagogical and/or method of mediation. Through selected examples, she presents the methodology of participatory filmmaking and its adaptations in museums, analysing the project The Living Cultures: Decolonising Cultural Spaces (2020). She also presents two participatory filmmaking museum sessions in Hungary: the Participatory Filmmaking Camp of the Hungarian Jewish Museum (2015) and the MyStory pilot project of the Sopron Museum (2018).1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86070306","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}
Abstract You-Too, a newly developed teaching and learning methodology in mental hygiene for college-age students, focuses on individual needs and uses their motivational power instead of trying to solve perceived or real social problems. This paper presents the theoretical background and main features of the method, as well as the anthropological observations we made during its operation.1
{"title":"You-Too: Mental Hygiene Methodology for College-Age Students","authors":"G. Ligeti","doi":"10.2478/ausfm-2023-0006","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0006","url":null,"abstract":"Abstract You-Too, a newly developed teaching and learning methodology in mental hygiene for college-age students, focuses on individual needs and uses their motivational power instead of trying to solve perceived or real social problems. This paper presents the theoretical background and main features of the method, as well as the anthropological observations we made during its operation.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75180400","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}
Abstract The Research Centre for Minor Media/Culture (founded at the Department of Media and Communication, ELTE University, Hungary) includes a number of research areas and work processes. One of them is to reveal the history and to map the actual state of the participatory film in Hungary, concieved not just as a visual social research method, but as a wide spectrum on which there are many different examples according to the depth and nature of the involvement of the stakeholders. The academic activities in the Research Centre cover the historical and theoretical aspects of participatory film, its foreign and Hungarian antecedents, contemporary national and international examples. Following the definitions of the field and examples from abroad, the author attempts to delimit the possible sub-themes that belong or could belong to the scope of participatory film. The author also mentions some aspects that seem useful for the analysis of the research topics, specifically film examples. From these varied examples a broad repository of participatory-based film will hopefully emerge: the stakeholder spectrum.1
{"title":"The Stakeholder Spectrum. The History and the Current State of Participatory Film in Hungary","authors":"A. Müllner","doi":"10.2478/ausfm-2023-0001","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0001","url":null,"abstract":"Abstract The Research Centre for Minor Media/Culture (founded at the Department of Media and Communication, ELTE University, Hungary) includes a number of research areas and work processes. One of them is to reveal the history and to map the actual state of the participatory film in Hungary, concieved not just as a visual social research method, but as a wide spectrum on which there are many different examples according to the depth and nature of the involvement of the stakeholders. The academic activities in the Research Centre cover the historical and theoretical aspects of participatory film, its foreign and Hungarian antecedents, contemporary national and international examples. Following the definitions of the field and examples from abroad, the author attempts to delimit the possible sub-themes that belong or could belong to the scope of participatory film. The author also mentions some aspects that seem useful for the analysis of the research topics, specifically film examples. From these varied examples a broad repository of participatory-based film will hopefully emerge: the stakeholder spectrum.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73663935","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}
Abstract The methodology, practical aspects and social embeddedness of participatory filmmaking and specifically the catalyst method developed by the author are presented in this study through workshop processes in Hungary. While the catalyst method is based on participatory video methodology, it uses film primarily for interpersonal communication, and its main goal is the use of the camera as a group cohesion and intergroup catalyst. The method addresses the representation and self-representation of participants along social fault lines through filmmaking, it is based on the principle of dialogue and aims at community building and participation. The method is hopefully applicable in other countries, as the democratising potential of participatory filmmaking for at least partially redressing existing inequalities can be utilized in other locations as well.1
{"title":"The Camera as a Social Catalyst","authors":"Sára Haragonics","doi":"10.2478/ausfm-2023-0004","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0004","url":null,"abstract":"Abstract The methodology, practical aspects and social embeddedness of participatory filmmaking and specifically the catalyst method developed by the author are presented in this study through workshop processes in Hungary. While the catalyst method is based on participatory video methodology, it uses film primarily for interpersonal communication, and its main goal is the use of the camera as a group cohesion and intergroup catalyst. The method addresses the representation and self-representation of participants along social fault lines through filmmaking, it is based on the principle of dialogue and aims at community building and participation. The method is hopefully applicable in other countries, as the democratising potential of participatory filmmaking for at least partially redressing existing inequalities can be utilized in other locations as well.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79263813","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}
Abstract What is the future vision of children in a Pupil Referral Unit in North London? How does Budapest’s skateboarding subculture create its own representation? What do Prague residents do on the anniversary of the Velvet Revolution? These are a few of the wide-ranging topics explored by the filmmakers of MyStreet. Launched in the early 2010s, the MyStreet project, modelled on the UK’s Mass Observation movement, expanded traditional academic forms of knowledge production to include broad social groups, researching everyday experiences and publishing the videos on a map-based website. This article presents the history and connections between MyStreet and its historical predecessor, the British Mass Observation movement of the 1930s, and then analyses some videos from the collection to examine how MyStreet enables marginalized groups to represent themselves.1
{"title":"The MyStreet Movement and Participatory Video","authors":"Balázs Cséke","doi":"10.2478/ausfm-2023-0002","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0002","url":null,"abstract":"Abstract What is the future vision of children in a Pupil Referral Unit in North London? How does Budapest’s skateboarding subculture create its own representation? What do Prague residents do on the anniversary of the Velvet Revolution? These are a few of the wide-ranging topics explored by the filmmakers of MyStreet. Launched in the early 2010s, the MyStreet project, modelled on the UK’s Mass Observation movement, expanded traditional academic forms of knowledge production to include broad social groups, researching everyday experiences and publishing the videos on a map-based website. This article presents the history and connections between MyStreet and its historical predecessor, the British Mass Observation movement of the 1930s, and then analyses some videos from the collection to examine how MyStreet enables marginalized groups to represent themselves.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90108041","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}
Abstract The House is Black is a lyrical documentary by a modernist Iranian poet and filmmaker, Forough Farrokhzad. It is a kind of symbolic visual poem about leper patients of a leprosarium in Iran made in 1962, which transcends time and place. This paper describes the ways in which the emphasis on the human body, references to historical and religious sources, and the use of the Biblical verses replace conventional interviews to create a narrative in the film. Utilizing Gilles Deleuze’s concept of affect, the paper analyses the camera’s focus on hands and feet, in contrast to absent facial expressions, which engages the audience.
{"title":"The Power of Close-ups and the Poetics of Silence: The House is Black by Forough Farrokhzad","authors":"Mona Monsefi","doi":"10.2478/ausfm-2023-0008","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0008","url":null,"abstract":"Abstract The House is Black is a lyrical documentary by a modernist Iranian poet and filmmaker, Forough Farrokhzad. It is a kind of symbolic visual poem about leper patients of a leprosarium in Iran made in 1962, which transcends time and place. This paper describes the ways in which the emphasis on the human body, references to historical and religious sources, and the use of the Biblical verses replace conventional interviews to create a narrative in the film. Utilizing Gilles Deleuze’s concept of affect, the paper analyses the camera’s focus on hands and feet, in contrast to absent facial expressions, which engages the audience.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88532040","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}
Abstract This paper presents a participatory film intervention focused on young people, which was held within the framework of a grant coordinated by the Minor Media/Culture Research Centre and took place in the form of a summer camp in 2021. After revisiting some historical examples and definitions of participatory film, the author focuses on the concept of displacement as used in film theory and psychology, which he attempts to redefine and thereby reverse its negative connotations. The author analyses the catalyst method, one of the various forms of implementing participatory video as a visual research method, which was the one used in the research described here. The participatory film methodology based on the camera-as-catalyst is meant to foster inter-group collaboration through camera use in order to achieve a free performance and interplay of identities and ultimately to strengthen social cohesion. Beyond the emancipatory intent, the diachronic and synchronic case studies are also linked by the fact that most of the projects were also collaborations with young people, as was the case in the Minor Media summer camp. In the final section, the author analyses the films made by the young people in terms of their relation to contemporary popular culture and the performance of adolescent identities defined by liminality.1
{"title":"Displacements. Contexts for a Participatory Media Project","authors":"A. Müllner","doi":"10.2478/ausfm-2023-0005","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0005","url":null,"abstract":"Abstract This paper presents a participatory film intervention focused on young people, which was held within the framework of a grant coordinated by the Minor Media/Culture Research Centre and took place in the form of a summer camp in 2021. After revisiting some historical examples and definitions of participatory film, the author focuses on the concept of displacement as used in film theory and psychology, which he attempts to redefine and thereby reverse its negative connotations. The author analyses the catalyst method, one of the various forms of implementing participatory video as a visual research method, which was the one used in the research described here. The participatory film methodology based on the camera-as-catalyst is meant to foster inter-group collaboration through camera use in order to achieve a free performance and interplay of identities and ultimately to strengthen social cohesion. Beyond the emancipatory intent, the diachronic and synchronic case studies are also linked by the fact that most of the projects were also collaborations with young people, as was the case in the Minor Media summer camp. In the final section, the author analyses the films made by the young people in terms of their relation to contemporary popular culture and the performance of adolescent identities defined by liminality.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87325248","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}
Abstract Remake Bodony is a documentary film, which was collaboratively developed by the inhabitants of Siklósbodony, Hungary in 2017. The article presents an account of the film production process as an organic continuation of two prior participatory visual arts workshops using photovoice and community mural painting. The reconstruction adopts a methodological lens and interprets these participatory activities as three stages of a visual participatory action research project. Three analytic dimensions are introduced: methodological configuration, “tiny publics” (Fine 2012), and the participants’ emerging research questions – to produce an account of the collective thought process occurring in the course of filmmaking.1
{"title":"Remake Bodony: Visual Participatory Action Research and Tiny Publics","authors":"Márton Oblath","doi":"10.2478/ausfm-2023-0003","DOIUrl":"https://doi.org/10.2478/ausfm-2023-0003","url":null,"abstract":"Abstract Remake Bodony is a documentary film, which was collaboratively developed by the inhabitants of Siklósbodony, Hungary in 2017. The article presents an account of the film production process as an organic continuation of two prior participatory visual arts workshops using photovoice and community mural painting. The reconstruction adopts a methodological lens and interprets these participatory activities as three stages of a visual participatory action research project. Three analytic dimensions are introduced: methodological configuration, “tiny publics” (Fine 2012), and the participants’ emerging research questions – to produce an account of the collective thought process occurring in the course of filmmaking.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82697894","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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