This article explores the bodily and psychological dimensions of Tony Leung Chiu-wai’s performance in Andrew Lau and Alan Mak’s urban noir thriller, Infernal Affairs (2002), as a way of trying to comprehend the actor’s flexible, transnational stardom. Through a textual analysis of a pivotal scene from the film, the article argues that Leung’s facial acting facilitates an embodied and empathetic connection between the actor and the spectator, effectuated through cinematic techniques such as close-ups, editing and music. An embodied understanding of Leung’s facial work in the close-up thus challenges the existing scholarship that limits Leung’s transnational appeal to a restrained or minimalist acting style. A greater appreciation of Leung’s modulating, flexible and multi-layered performance is also illustrated through the scene’s juxtaposition of narrative and spectacle. The rupturing of the spectator’s empathetic and bodily engagement with Leung’s character during the spectacle sequence encourages the actor to shift his emotional response and bodily expressivity towards a performance delivery dictated by a flexible identity, thus bringing into relief the film’s preoccupation with a postcolonial identity crisis.
{"title":"Moving between worlds: Performance, the scene of empathy and flexible identity in Infernal Affairs","authors":"Sebastian Byrne","doi":"10.1386/ac_00068_1","DOIUrl":"https://doi.org/10.1386/ac_00068_1","url":null,"abstract":"This article explores the bodily and psychological dimensions of Tony Leung Chiu-wai’s performance in Andrew Lau and Alan Mak’s urban noir thriller, Infernal Affairs (2002), as a way of trying to comprehend the actor’s flexible, transnational stardom. Through a textual analysis of a pivotal scene from the film, the article argues that Leung’s facial acting facilitates an embodied and empathetic connection between the actor and the spectator, effectuated through cinematic techniques such as close-ups, editing and music. An embodied understanding of Leung’s facial work in the close-up thus challenges the existing scholarship that limits Leung’s transnational appeal to a restrained or minimalist acting style. A greater appreciation of Leung’s modulating, flexible and multi-layered performance is also illustrated through the scene’s juxtaposition of narrative and spectacle. The rupturing of the spectator’s empathetic and bodily engagement with Leung’s character during the spectacle sequence encourages the actor to shift his emotional response and bodily expressivity towards a performance delivery dictated by a flexible identity, thus bringing into relief the film’s preoccupation with a postcolonial identity crisis.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139325447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.
{"title":"Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020)","authors":"Zhaoyu Zhu","doi":"10.1386/ac_00072_1","DOIUrl":"https://doi.org/10.1386/ac_00072_1","url":null,"abstract":"This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139328458","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}
Review of: How Do We Look? Resisting Visual Biopolitics, Fatimah Tobing Rony (2022) Durham: Duke University Press, 248 pp., ISBN 978-1-47801-460-7, p/bk, $26.95 ISBN 978-1-47801-367-9, h/bk, $102.95 ISBN 978-1-47802-190-2, e-book, $26.95
回顾：我们怎么看？抵制视觉生物政治学》，法蒂玛-托宾-罗尼（2022 年），杜伦：杜克大学出版社，248 页，ISBN 978-1-47801-460-7，p/bk，26.95 美元 ISBN 978-1-47801-367-9，h/bk，102.95 美元 ISBN 978-1-47802-190-2，电子书，26.95 美元
{"title":"How Do We Look? Resisting Visual Biopolitics, Fatimah Tobing Rony (2022)","authors":"Debarati Byabartta","doi":"10.1386/ac_00073_5","DOIUrl":"https://doi.org/10.1386/ac_00073_5","url":null,"abstract":"Review of: How Do We Look? Resisting Visual Biopolitics, Fatimah Tobing Rony (2022) Durham: Duke University Press, 248 pp., ISBN 978-1-47801-460-7, p/bk, $26.95 ISBN 978-1-47801-367-9, h/bk, $102.95 ISBN 978-1-47802-190-2, e-book, $26.95","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139327716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article’s title originates from a line spoken by a revolutionary towards the end of the film Red Army/PFLP: Declaration of World War. Like the film born of the collaboration of politically radical Japanese experimental filmmakers and revolutionaries, this examination concerns revolution itself as a film subject. More specifically, it interrogates this film as a revolutionary tool and the limitations thereof, as well as revolution and revolutionaries captured in the film and the revolutionary as embodied in the film’s maker Masao Adachi. What it produces might be termed ‘the revolutionary subject’.
{"title":"The revolutionary subject: Masao Adachi and Red Army/PFLP: Declaration of World War","authors":"Seth A. Wilder","doi":"10.1386/ac_00071_1","DOIUrl":"https://doi.org/10.1386/ac_00071_1","url":null,"abstract":"This article’s title originates from a line spoken by a revolutionary towards the end of the film Red Army/PFLP: Declaration of World War. Like the film born of the collaboration of politically radical Japanese experimental filmmakers and revolutionaries, this examination concerns revolution itself as a film subject. More specifically, it interrogates this film as a revolutionary tool and the limitations thereof, as well as revolution and revolutionaries captured in the film and the revolutionary as embodied in the film’s maker Masao Adachi. What it produces might be termed ‘the revolutionary subject’.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139329580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the lone outlier associated with the cannibal boom of European exploitation films in the 1970s and 1980s – with the main point of diversion being that Sisworo Gautama Putra’s film is an Indonesian production rather than the typical Italian fare. Being an Asian film that emulates the traditionally European style of cannibal film, Primitives opens a larger discussion about the role of the theoretical savage and the implications thereof, put in place by ghosts of imperialism and cinematic mimicry. The author explores these concepts with psychoanalytic input, opting to unpack the rationality behind an Indonesian film following the same imperialist notions utilized by the preceding Italian directors, which ultimately results in a subdivision of the artificial–natural dichotomy: the meta-natural.
本文讨论的是《原始人》（Primitives）这部与 20 世纪 70 年代和 80 年代欧洲剥削电影的食人热潮相关的影片--其重点在于，Sisworo Gautama Putra 的影片是一部印尼作品，而非典型的意大利作品。作为一部模仿欧洲传统食人电影风格的亚洲电影，《原始人》引发了一场关于理论上野蛮人的角色及其影响的大讨论，帝国主义的幽灵和电影的模仿使其成为现实。作者以精神分析的视角探讨了这些概念，选择解读一部印尼电影背后的合理性，这部电影沿用了前面几位意大利导演所使用的帝国主义概念，最终形成了人工-自然二分法的细分：元自然。
{"title":"Sisworo Gautama Putra’s Primitives and the paradox of savagery","authors":"David Kelly","doi":"10.1386/ac_00069_1","DOIUrl":"https://doi.org/10.1386/ac_00069_1","url":null,"abstract":"This article discusses the lone outlier associated with the cannibal boom of European exploitation films in the 1970s and 1980s – with the main point of diversion being that Sisworo Gautama Putra’s film is an Indonesian production rather than the typical Italian fare. Being an Asian film that emulates the traditionally European style of cannibal film, Primitives opens a larger discussion about the role of the theoretical savage and the implications thereof, put in place by ghosts of imperialism and cinematic mimicry. The author explores these concepts with psychoanalytic input, opting to unpack the rationality behind an Indonesian film following the same imperialist notions utilized by the preceding Italian directors, which ultimately results in a subdivision of the artificial–natural dichotomy: the meta-natural.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139325500","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}
Portuguese filmography on Portuguese Asia during the Estado Novo is limited. Additionally, much of this filmography appeared late and while also espousing a Luso-tropicalist rhetoric that sought to project the bygone mythical importance of a formerly vast empire. During the dictatorship, however, the colonies in the East held symbolic value. I propose that the scarcity of films on the ‘Portuguese Orient’ stems from this symbolic value of an imagined community that is evoked more through its vagueness than through its visual representation. With the emergence of tensions between Portugal and India regarding the control of Portuguese India in 1947, and the beginning of the independence war in Angola in 1961, interest in filming Portugal’s eastern colonies arose from the need to sediment a Luso-orientalist discourse that ignored the broad range of local characteristics and the myriad differences that existed between Africa and Asia and, moreover, between various colonies within those regions.
{"title":"‘Luso-orientalism’: Portuguese Asian ‘imagined communities’ in Estado Novo film propaganda","authors":"Maria do Carmo Piçarra","doi":"10.1386/ac_00070_1","DOIUrl":"https://doi.org/10.1386/ac_00070_1","url":null,"abstract":"Portuguese filmography on Portuguese Asia during the Estado Novo is limited. Additionally, much of this filmography appeared late and while also espousing a Luso-tropicalist rhetoric that sought to project the bygone mythical importance of a formerly vast empire. During the dictatorship, however, the colonies in the East held symbolic value. I propose that the scarcity of films on the ‘Portuguese Orient’ stems from this symbolic value of an imagined community that is evoked more through its vagueness than through its visual representation. With the emergence of tensions between Portugal and India regarding the control of Portuguese India in 1947, and the beginning of the independence war in Angola in 1961, interest in filming Portugal’s eastern colonies arose from the need to sediment a Luso-orientalist discourse that ignored the broad range of local characteristics and the myriad differences that existed between Africa and Asia and, moreover, between various colonies within those regions.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139327986","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}
The response to Jimmy Wang Yu’s death in April 2022 revealed the symptoms of undercelebration: while every professional obituary recognized the late filmmaker’s importance, few could explain why without inaccuracy or misattribution. This resonates with a long tradition of subjugating Wang’s work within the context of other, much more integral figures, in which the cultural and economic motivators for his filmic aesthetics are insufficiently considered. Similarly, various elements of Wang’s work, especially his purported anti-Japanism, have long been subjected to conjecture and simplification, or else an overreliance on the incorporation of biographical details into textual analyses of his films. This article aims to disentangle and clarify the myths and misconceptions that complicate the story of Wang’s career. To avoid repeating prior mistakes – i.e., to prevent the narrative distortion of associated figures within Wang’s narrative – the article will use the political economy of cinema as a guiding framework. The overall aim is to present a decentralized view of The Chinese Boxer (1970) to evaluate the cultural and material factors that motivated Wang’s career peak and the film for which he is most remembered.
{"title":"Legend of The Chinese Boxer: Jimmy Wang Yu’s cosmopolitan wuxia pian","authors":"Liam Ball","doi":"10.1386/ac_00061_1","DOIUrl":"https://doi.org/10.1386/ac_00061_1","url":null,"abstract":"The response to Jimmy Wang Yu’s death in April 2022 revealed the symptoms of undercelebration: while every professional obituary recognized the late filmmaker’s importance, few could explain why without inaccuracy or misattribution. This resonates with a long tradition of subjugating Wang’s work within the context of other, much more integral figures, in which the cultural and economic motivators for his filmic aesthetics are insufficiently considered. Similarly, various elements of Wang’s work, especially his purported anti-Japanism, have long been subjected to conjecture and simplification, or else an overreliance on the incorporation of biographical details into textual analyses of his films. This article aims to disentangle and clarify the myths and misconceptions that complicate the story of Wang’s career. To avoid repeating prior mistakes – i.e., to prevent the narrative distortion of associated figures within Wang’s narrative – the article will use the political economy of cinema as a guiding framework. The overall aim is to present a decentralized view of The Chinese Boxer (1970) to evaluate the cultural and material factors that motivated Wang’s career peak and the film for which he is most remembered.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41695040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses Chinese director Ning Ying’s 2006 film wuqiongdong (Perpetual Motion) with an emphasis on the development of queer voice(over) – a queer feminist aesthetic achievement that subverts and perverts the heteropatriarchal suppression of women’s desire. Specifically, I analyse the ways queer figure’s voice-over interacts with haptic visuality, contemporaneous image and the intertextual references between film-texts and exterior texts about the film. I argue, through queer voice(over), Perpetual Motion expands its theme beyond the issue of infidelity in a heterosexual marriage, develops a cinematic critique to the twentieth-century Chinese feminist movements and articulates female desires from multiple registers of senses, psychology and historical subjectivity. In Chinese cinema where queer voices are usually marginalized, Ning’s queer voice(over) establishes a mutually referent relation between queer and heteronormative storylines, thus circumventing the state censorship and adding queerness into Chinese-language feminist debates and cinematic expression.
{"title":"Queer voice(over): Reassembling female desire in Chinese cinema","authors":"Xuefei Ma","doi":"10.1386/ac_00065_1","DOIUrl":"https://doi.org/10.1386/ac_00065_1","url":null,"abstract":"This article discusses Chinese director Ning Ying’s 2006 film wuqiongdong (Perpetual Motion) with an emphasis on the development of queer voice(over) – a queer feminist aesthetic achievement that subverts and perverts the heteropatriarchal suppression of women’s desire. Specifically, I analyse the ways queer figure’s voice-over interacts with haptic visuality, contemporaneous image and the intertextual references between film-texts and exterior texts about the film. I argue, through queer voice(over), Perpetual Motion expands its theme beyond the issue of infidelity in a heterosexual marriage, develops a cinematic critique to the twentieth-century Chinese feminist movements and articulates female desires from multiple registers of senses, psychology and historical subjectivity. In Chinese cinema where queer voices are usually marginalized, Ning’s queer voice(over) establishes a mutually referent relation between queer and heteronormative storylines, thus circumventing the state censorship and adding queerness into Chinese-language feminist debates and cinematic expression.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47109377","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}
Child protagonists have been relatively uncommon in Korean cinema. This article, however, draws attention to two films from 1965 that both feature child protagonists: Sorrow Even up in Heaven (Kim) and The DMZ (Park). The article’s interest in these two films is twofold, found both in and beyond the diegesis. On a diegetic level, the emphasis on child perspectives plays a crucial function in refraining serious fictional narratives from following an adult’s expected (and melodramatic) narrative development. Such a pattern not only offers a creative glimpse into the world of children but also becomes a means through which filmmakers tactfully avoided the intensifying censorship of 1960s Korea. And yet, the filmmakers’ subtle criticisms of society, though unspoken in the diegesis, are almost osmotically imbued in the highly sociopolitical settings of the narratives. Thus, the resulting juxtaposition (and paradoxical discrepancy) between the settings and the children’s obliviousness become crucial in allowing viewers – at least contemporary ones – to recognize the unspoken social and political issues of the 1960s. Beyond the diegesis, the child is also crucial in having provided an opportunity to capture sensitive environments of the 1960s through its dedication to child perspectives that created a documentary-like realism. Thus, I argue the role of the child in these films to be not only a tool by which artists delicately avoided political criticism in the 1960s but also a vehicle that enabled rare archives into a forgotten past.
{"title":"In children’s eyes: Historical and ethnographic value of child perspectives in 1960s South Korean cinema","authors":"Jinsoo An","doi":"10.1386/ac_00060_1","DOIUrl":"https://doi.org/10.1386/ac_00060_1","url":null,"abstract":"Child protagonists have been relatively uncommon in Korean cinema. This article, however, draws attention to two films from 1965 that both feature child protagonists: Sorrow Even up in Heaven (Kim) and The DMZ (Park). The article’s interest in these two films is twofold, found both in and beyond the diegesis. On a diegetic level, the emphasis on child perspectives plays a crucial function in refraining serious fictional narratives from following an adult’s expected (and melodramatic) narrative development. Such a pattern not only offers a creative glimpse into the world of children but also becomes a means through which filmmakers tactfully avoided the intensifying censorship of 1960s Korea. And yet, the filmmakers’ subtle criticisms of society, though unspoken in the diegesis, are almost osmotically imbued in the highly sociopolitical settings of the narratives. Thus, the resulting juxtaposition (and paradoxical discrepancy) between the settings and the children’s obliviousness become crucial in allowing viewers – at least contemporary ones – to recognize the unspoken social and political issues of the 1960s. Beyond the diegesis, the child is also crucial in having provided an opportunity to capture sensitive environments of the 1960s through its dedication to child perspectives that created a documentary-like realism. Thus, I argue the role of the child in these films to be not only a tool by which artists delicately avoided political criticism in the 1960s but also a vehicle that enabled rare archives into a forgotten past.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44082013","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}
Review of: Asian Cinema and the Use of Space: Interdisciplinary Perspectives, Lilian Chee and Edna Lim (eds) (2018) New York and London: Routledge, 268 pp., ISBN 978-1-13854-904-3, p/bk, £42.99
{"title":"Asian Cinema and the Use of Space: Interdisciplinary Perspectives, Lilian Chee and Edna Lim (eds) (2018)","authors":"P. Chow","doi":"10.1386/ac_00066_5","DOIUrl":"https://doi.org/10.1386/ac_00066_5","url":null,"abstract":"Review of: Asian Cinema and the Use of Space: Interdisciplinary Perspectives, Lilian Chee and Edna Lim (eds) (2018)\u0000 New York and London: Routledge, 268 pp.,\u0000 ISBN 978-1-13854-904-3, p/bk, £42.99","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42232423","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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