Pub Date : 2022-05-04DOI: 10.1080/17503132.2022.2072991
B. Beumers
and temporal relationship between China and revolutionary Russia’ (143) that Soviet filmmakers wanted to create and their desire to make both films about China and films to exhibit in China (in order to radicalise Chinese audiences). This chapter ranges widely, from the animated film China in Flames (Kitai v ogne) to Vladimir Shneiderov’s 1925 expedition film The Great Flight (Velikii perelet), to Tret’iakov’s own, unmade project with Sergei Eisenstein and Eduard Tisse, Dzhungo, to the 1928 documentary Shanghai Document (Shangkhaiskii dokument) and Isaak Babel”s script for the now lost film The Chinese Mill (Kitaiskaia mel’nitsa), in which humour undermines international solidarity. Chapter 4 considers Den Shi-khua, Tret’iakov’s extensive ‘bio-interview’ of one of his Chinese students, a work that evolved over a decade of new editions in the late 1920s and early 1930s, entailing the articulation and elaboration of a new theory of both writing and reading. This complex text requires a complex analysis, a task for which Tyerman is supremely well equipped. The book’s epilogue takes the story further into the 1930s, through the work of the Chinese returnees from Moscow and, in Russia, through the journal International literature and the contribution of two Chinese intermediaries, the poet and translator Xiao San (Emi Siao) and the Peking opera actor Mei Lanfang. It concludes with numbing details on the way in which the arrests and executions of the 1930s decimated the ranks of those involved in the political and cultural reception of the Chinese revolutionary movement. Internationalist aesthetics is a staggeringly erudite, formidably argued and fundamentally important book about which a great deal more could be written than I have space for here. Its case study of political and cultural exchange between nations provides a model for approaching such issues in other areas and epochs and is particularly relevant at the present time of political and cultural competition and the battles for influence.
以及苏联电影制作人想要创作的《中国和革命俄罗斯之间的时间关系》（143），以及他们想要制作关于中国的电影和在中国展出的电影的愿望（以激进化中国观众）。这一章涉及面很广，从动画电影《火焰中的中国》（Kitai v ogne）到弗拉基米尔·施奈德罗夫1925年的探险电影《伟大的飞行》（Velikii perelet），再到特雷季亚科夫自己与谢尔盖·艾森斯坦和爱德华·蒂塞、，1928年的纪录片《上海文件》（Shangkhaiskii dokument）和伊萨克·巴贝尔为现已失传的电影《中国工厂》（Kitaiskaia mel'nitsa）编写的剧本，其中幽默破坏了国际团结。第四章论述了特列季亚科夫对他的一名中国学生的广泛“个人访谈”《登世华》，这部作品在20世纪20年代末和30年代初经过了十多年的新版发展，包含了一种新的写作和阅读理论的阐述和阐述。这个复杂的文本需要一个复杂的分析，而Tyerman完全有能力完成这项任务。这本书的后记通过从莫斯科返回的中国人的作品，以及在俄罗斯的《国际文学》杂志，以及诗人兼翻译家小三（Emi Siao饰）和京剧演员梅兰芳这两位中国中间人的贡献，将故事进一步带入了20世纪30年代。它以令人麻木的细节结尾，讲述了20世纪30年代的逮捕和处决如何摧毁了那些参与中国革命运动政治和文化接受的人。《国际美学》是一本博学多才、争论不休、具有根本重要性的书，关于这本书，我可以写的东西比我在这里的篇幅多得多。它对国家间政治和文化交流的案例研究为在其他领域和时代处理这些问题提供了一个模式，在当前政治和文化竞争以及影响力争夺战中尤为重要。
{"title":"Sergueï Loznitsa. Un cinéma à l’épreuve du monde","authors":"B. Beumers","doi":"10.1080/17503132.2022.2072991","DOIUrl":"https://doi.org/10.1080/17503132.2022.2072991","url":null,"abstract":"and temporal relationship between China and revolutionary Russia’ (143) that Soviet filmmakers wanted to create and their desire to make both films about China and films to exhibit in China (in order to radicalise Chinese audiences). This chapter ranges widely, from the animated film China in Flames (Kitai v ogne) to Vladimir Shneiderov’s 1925 expedition film The Great Flight (Velikii perelet), to Tret’iakov’s own, unmade project with Sergei Eisenstein and Eduard Tisse, Dzhungo, to the 1928 documentary Shanghai Document (Shangkhaiskii dokument) and Isaak Babel”s script for the now lost film The Chinese Mill (Kitaiskaia mel’nitsa), in which humour undermines international solidarity. Chapter 4 considers Den Shi-khua, Tret’iakov’s extensive ‘bio-interview’ of one of his Chinese students, a work that evolved over a decade of new editions in the late 1920s and early 1930s, entailing the articulation and elaboration of a new theory of both writing and reading. This complex text requires a complex analysis, a task for which Tyerman is supremely well equipped. The book’s epilogue takes the story further into the 1930s, through the work of the Chinese returnees from Moscow and, in Russia, through the journal International literature and the contribution of two Chinese intermediaries, the poet and translator Xiao San (Emi Siao) and the Peking opera actor Mei Lanfang. It concludes with numbing details on the way in which the arrests and executions of the 1930s decimated the ranks of those involved in the political and cultural reception of the Chinese revolutionary movement. Internationalist aesthetics is a staggeringly erudite, formidably argued and fundamentally important book about which a great deal more could be written than I have space for here. Its case study of political and cultural exchange between nations provides a model for approaching such issues in other areas and epochs and is particularly relevant at the present time of political and cultural competition and the battles for influence.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41792209","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 : 2022-04-25DOI: 10.1080/17503132.2022.2066314
J. Graffy
{"title":"Internationalist aesthetics: China and early Soviet culture","authors":"J. Graffy","doi":"10.1080/17503132.2022.2066314","DOIUrl":"https://doi.org/10.1080/17503132.2022.2066314","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43683783","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 : 2022-04-21DOI: 10.1080/17503132.2022.2064578
Olga Kim
ABSTRACT The term ‘poetic cinema’ is common in Russo-Soviet critical discourse, but has meant different things at different times. This article demonstrates how ‘poetic cinema’ has two overlapping, but nonetheless distinct meanings: on the one hand, according to Russian Formalism, the term ‘poetic’ connotes a defining feature specific to art; on the other hand, it implies an expressive mode characterised by elevation from a concrete reality and commonly ascribed to poetry. The meaning of ‘poetic’ oscillated between the ‘formalist’ and ‘elevated’ senses over the course of Soviet history, whilst the latter meaning has been adapted in varying historical conditions. The article explores these changing meanings of ‘poetic cinema’; the parallels and divergences between the poetic cinema of the 1920s and the 1960s; the use of the terms ‘poetic cinema’ vs. ‘auteur cinema’; and the overlap between ‘poetic’ and ethno-national cinemas during the late 1960s and 70s. The ambiguities of the term ‘poetic cinema’ in Russo-Soviet critical discourse at different ‘thaws’ and ‘freezes’ in Soviet cultural history point to a repressed ‘other’ behind the realist mandate that dominated Soviet cinema and culture.
{"title":"Poetic cinema: a genealogy of the ‘poetic’ in Soviet and post-Soviet critical discourse","authors":"Olga Kim","doi":"10.1080/17503132.2022.2064578","DOIUrl":"https://doi.org/10.1080/17503132.2022.2064578","url":null,"abstract":"ABSTRACT The term ‘poetic cinema’ is common in Russo-Soviet critical discourse, but has meant different things at different times. This article demonstrates how ‘poetic cinema’ has two overlapping, but nonetheless distinct meanings: on the one hand, according to Russian Formalism, the term ‘poetic’ connotes a defining feature specific to art; on the other hand, it implies an expressive mode characterised by elevation from a concrete reality and commonly ascribed to poetry. The meaning of ‘poetic’ oscillated between the ‘formalist’ and ‘elevated’ senses over the course of Soviet history, whilst the latter meaning has been adapted in varying historical conditions. The article explores these changing meanings of ‘poetic cinema’; the parallels and divergences between the poetic cinema of the 1920s and the 1960s; the use of the terms ‘poetic cinema’ vs. ‘auteur cinema’; and the overlap between ‘poetic’ and ethno-national cinemas during the late 1960s and 70s. The ambiguities of the term ‘poetic cinema’ in Russo-Soviet critical discourse at different ‘thaws’ and ‘freezes’ in Soviet cultural history point to a repressed ‘other’ behind the realist mandate that dominated Soviet cinema and culture.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47546339","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 : 2022-03-28DOI: 10.1080/17503132.2022.2056992
P. Branco
ABSTRACT In this article, I analyse the convergences between haptic visuality and Sergei Eisenstein’s film theory, in particular his ideas on rhythm, sensorial thought, organic unity, pathos and ecstasy in order to consider the extent to which they constitute the core of a ‘cinema of sensation’ that, for Eisenstein, serves a very important political drive. Simultaneously positioned at the core of avant-garde criticism of traditional models of representation on the one hand, and political revolutionary ideas on the other, cinema appears, to Eisenstein, as a privileged space in which to bring the representative imagery dominant in ‘bourgeois societies’ into question and to put art at the service of the Revolution. My intent is to assess how Eisenstein combines avant-garde aesthetic aims and experimental film practices with the goals of politically engaged creations. This combination is achieved through the exploration of a haptic use of images that prefigure a ‘cinema of sensation’. This article therefore takes the form of a double analysis: on the one hand, it examines the relationship between haptic visuality and Eisenstein’s film theories; on the other, it questions how haptic visuality plays a fundamental role in harmonising the apparently opposite vectors of aesthetic avant-garde and materialistic political drives.
{"title":"Haptic visuality, sensation and politics in Eisenstein’s film theory","authors":"P. Branco","doi":"10.1080/17503132.2022.2056992","DOIUrl":"https://doi.org/10.1080/17503132.2022.2056992","url":null,"abstract":"ABSTRACT In this article, I analyse the convergences between haptic visuality and Sergei Eisenstein’s film theory, in particular his ideas on rhythm, sensorial thought, organic unity, pathos and ecstasy in order to consider the extent to which they constitute the core of a ‘cinema of sensation’ that, for Eisenstein, serves a very important political drive. Simultaneously positioned at the core of avant-garde criticism of traditional models of representation on the one hand, and political revolutionary ideas on the other, cinema appears, to Eisenstein, as a privileged space in which to bring the representative imagery dominant in ‘bourgeois societies’ into question and to put art at the service of the Revolution. My intent is to assess how Eisenstein combines avant-garde aesthetic aims and experimental film practices with the goals of politically engaged creations. This combination is achieved through the exploration of a haptic use of images that prefigure a ‘cinema of sensation’. This article therefore takes the form of a double analysis: on the one hand, it examines the relationship between haptic visuality and Eisenstein’s film theories; on the other, it questions how haptic visuality plays a fundamental role in harmonising the apparently opposite vectors of aesthetic avant-garde and materialistic political drives.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43434016","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 : 2022-03-25DOI: 10.1080/17503132.2022.2052683
M. Mayofis
ABSTRACT This article traces the role of the intelligentsia as represented in the cinema of the Thaw through two Soviet films from 1960: The Blind Musician by Tat’iana Lukashevich and The Northern Story by Evgenii Andrikanis. Both films were adaptations of literary texts: a short novel by Vladimir Korolenko originally published in 1898, and a novella by Konstantin Paustovskii published in 1938 respectively. The protagonists of both films belong to diverse generations of the Russian intelligentsia. Based on an analysis of the films and archival research of the scripts, this article demonstrates that these two films covertly revisit the historical role of Russia’s intelligentsia, which they present as an independent force of historical progress, albeit inspired by the ‘common people’. This new image of the intelligentsia was created by film-makers who had worked in cinema since the 1920s and early 30s, and who remembered Stalin’s humiliation of intellectuals. They opposed to the experience of the late 1940s and its anti-cosmopolitan campaigns the heroic myth of the revolutionary intelligentsia. This myth represented the intelligentsia as Russia’s liberators and was traced back to the pre-Revolutionary period. Both films combine the aesthetics of Stalinist cinema and local experiments that tended to destabilise it.
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Pub Date : 2022-03-22DOI: 10.1080/17503132.2022.2052684
Aleksandra Shubina
ABSTRACT This article investigates the potential of children’s literature and animation in late-Soviet Russia to subtly reflect the ways in which state ideology and public attitudes towards societal development and social institutions transform, merge with, mimic and come into conflict with one another. The article focuses on a comparative analysis of two Soviet children’s science-fiction texts about the character Alisa Seleznёva, otherwise known as ‘the girl from the future’. These texts are Kir Bulychёv’s novella Alisa’s Journey (1974) and Roman Kachanov’s animated adaptation of this same tale, The Mystery of the Third Planet (1981). The article argues that the emphasis on the experience of a female character, underrepresented in male-dominated Soviet culture, and the choice of a child protagonist is an expression of scepticism towards the normative social roles found within nuclear families, professional and school environments, and the gender behaviours promulgated by the Soviet master discourse.
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Pub Date : 2022-01-02DOI: 10.1080/17503132.2021.2024421
A. Anemone
ABSTRACT Mikhail Kalatozov, the first and only director to win a Golden Palm in Cannes for The Cranes are Flying in 1957, started his career as a filmmaker in Georgia. However, Salt for Svaneti, believed to have been his first film, was not at all the director’s debut: rather, he had already made a number of films, most of which have not survived. This is also the case for The Blind Girl. In 2010, Sergei Tret’iakov’s script for this film was discovered in the archive of the theatre critic Aleksandr Fevral’skii and published in Russian. The present publication, which consists of an introduction and the publication of the script, first traces the origins of the script and contextualises it, before offering a first English translation by Albert Newberry. The Blind Girl sheds light on an obscure episode in the biographies of both Kalatozov and Tret’iakov, addressing the challenges of overcoming the accumulated effects of centuries of underdevelopment and backwardness in the lives of the multinational population of Soviet Russia. This, however, made the film ripe for censorship by the time of its completion.
{"title":"Sergei Tret’iakov, Mikhail Kalatozov and The Blind Girl Sergei Tret’iakov: The Blind Girl. A Script. Translated by Albert Newberry","authors":"A. Anemone","doi":"10.1080/17503132.2021.2024421","DOIUrl":"https://doi.org/10.1080/17503132.2021.2024421","url":null,"abstract":"ABSTRACT Mikhail Kalatozov, the first and only director to win a Golden Palm in Cannes for The Cranes are Flying in 1957, started his career as a filmmaker in Georgia. However, Salt for Svaneti, believed to have been his first film, was not at all the director’s debut: rather, he had already made a number of films, most of which have not survived. This is also the case for The Blind Girl. In 2010, Sergei Tret’iakov’s script for this film was discovered in the archive of the theatre critic Aleksandr Fevral’skii and published in Russian. The present publication, which consists of an introduction and the publication of the script, first traces the origins of the script and contextualises it, before offering a first English translation by Albert Newberry. The Blind Girl sheds light on an obscure episode in the biographies of both Kalatozov and Tret’iakov, addressing the challenges of overcoming the accumulated effects of centuries of underdevelopment and backwardness in the lives of the multinational population of Soviet Russia. This, however, made the film ripe for censorship by the time of its completion.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46051697","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 : 2022-01-02DOI: 10.1080/17503132.2022.2031764
B. Beumers
{"title":"Editorial","authors":"B. Beumers","doi":"10.1080/17503132.2022.2031764","DOIUrl":"https://doi.org/10.1080/17503132.2022.2031764","url":null,"abstract":"","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888714","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 : 2022-01-02DOI: 10.1080/17503132.2021.2024039
Jamile Satybaldiyeva
ABSTRACT The article explores the transformation of images of daughters-in-law in Central Asian cinema of the Soviet and post-Soviet era. The images of daughters-in-law (kelin) are laden with cultural, social and political meanings that reveal various aspects of identity and gender politics and state ideology in the Central Asian states. The kelins are seen as important symbols of the continuation of patriarchal traditions, yet they also belong to societies where debates on gender roles are becoming increasingly more pronounced. The representations of the daughter-in-law in Central Asian film, thus, has become a contested site showcasing various ideological perspectives, from discourses of female re-traditionalisation to their critique and debate.
{"title":"The transformation of ‘divisive’ daughters-in-law in Central Asian cinema","authors":"Jamile Satybaldiyeva","doi":"10.1080/17503132.2021.2024039","DOIUrl":"https://doi.org/10.1080/17503132.2021.2024039","url":null,"abstract":"ABSTRACT The article explores the transformation of images of daughters-in-law in Central Asian cinema of the Soviet and post-Soviet era. The images of daughters-in-law (kelin) are laden with cultural, social and political meanings that reveal various aspects of identity and gender politics and state ideology in the Central Asian states. The kelins are seen as important symbols of the continuation of patriarchal traditions, yet they also belong to societies where debates on gender roles are becoming increasingly more pronounced. The representations of the daughter-in-law in Central Asian film, thus, has become a contested site showcasing various ideological perspectives, from discourses of female re-traditionalisation to their critique and debate.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45706507","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 : 2022-01-02DOI: 10.1080/17503132.2022.2028257
S. Abishev, E. Lumpov, Inna Smailova
ABSTRACT This article explores the phenomenon of Partisan Cinema in Kazakhstan in the 2010s in a historical and social context. It explains the funding situation in Kazakhstani film production in order to contextualise the rise of an independent cinema, and places the emergence of socially engaged cinema in the context of early Kazakh experiences with film in the 1930s and the Kazakh New Wave of the late Soviet era. The key films of the movement are analysed, including Adilkhan Yerzhanov’s Constructors and The Owners, as well as Zhosulan Poshanov’s Toll Bar. The absurdism in Yerzhanov’s The Plague at the Karatas Village is singled out and shown as a typical feature of Partisan cinema as it engages with the impossibility of social change, both thematically and stylistically. The framework for this socially engaged cinema is connected to the social realism of the 1950s and 1960s as manifest in the British group of the Angry Young Men. This connection, as well as the principle of Partisan Cinema, are set out in the group’s Manifesto of 2014, appended to this article.
{"title":"The phenomenon of Partisan Cinema: alternative film production in Kazakhstan (Appendix: A Manifesto)","authors":"S. Abishev, E. Lumpov, Inna Smailova","doi":"10.1080/17503132.2022.2028257","DOIUrl":"https://doi.org/10.1080/17503132.2022.2028257","url":null,"abstract":"ABSTRACT This article explores the phenomenon of Partisan Cinema in Kazakhstan in the 2010s in a historical and social context. It explains the funding situation in Kazakhstani film production in order to contextualise the rise of an independent cinema, and places the emergence of socially engaged cinema in the context of early Kazakh experiences with film in the 1930s and the Kazakh New Wave of the late Soviet era. The key films of the movement are analysed, including Adilkhan Yerzhanov’s Constructors and The Owners, as well as Zhosulan Poshanov’s Toll Bar. The absurdism in Yerzhanov’s The Plague at the Karatas Village is singled out and shown as a typical feature of Partisan cinema as it engages with the impossibility of social change, both thematically and stylistically. The framework for this socially engaged cinema is connected to the social realism of the 1950s and 1960s as manifest in the British group of the Angry Young Men. This connection, as well as the principle of Partisan Cinema, are set out in the group’s Manifesto of 2014, appended to this article.","PeriodicalId":41168,"journal":{"name":"Studies in Russian and Soviet Cinema","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46068890","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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