Review of: Lesbians on Television: New Queer Visibility and the Lesbian Normal, Kate McNicholas Smith (2020) Bristol: Intellect Books, 206 pp., ISBN 978-1-78938-280-8, h/bk, £80
{"title":"Lesbians on Television: New Queer Visibility and the Lesbian Normal, Kate McNicholas Smith (2020)","authors":"Anamarija Horvat","doi":"10.1386/jptv_00065_5","DOIUrl":"https://doi.org/10.1386/jptv_00065_5","url":null,"abstract":"Review of: Lesbians on Television: New Queer Visibility and the Lesbian Normal, Kate McNicholas Smith (2020)\u0000Bristol: Intellect Books, 206 pp.,\u0000ISBN 978-1-78938-280-8, h/bk, £80","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79077687","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}
Nostalgia is often examined as an element of the text. In this contribution, I argue that texts offer a number of spectator positions that can be perceived as nostalgic if the viewer has accumulated certain life experiences that render them so. Examining Babylon Berlin, I argue that the programme offers a spectator position that can look at its Weimar of 1929 anxiously and nostalgically. This is a spectator position that assumes a viewer who is likely to be from the former West and who likely is younger than 55 years of age.
{"title":"Whose nostalgia? Differentiation in German television’s audience address","authors":"E. Weissmann","doi":"10.1386/jptv_00059_1","DOIUrl":"https://doi.org/10.1386/jptv_00059_1","url":null,"abstract":"Nostalgia is often examined as an element of the text. In this contribution, I argue that texts offer a number of spectator positions that can be perceived as nostalgic if the viewer has accumulated certain life experiences that render them so. Examining Babylon Berlin, I argue that the programme offers a spectator position that can look at its Weimar of 1929 anxiously and nostalgically. This is a spectator position that assumes a viewer who is likely to be from the former West and who likely is younger than 55 years of age.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73627462","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}
Teen series play a central role in the socialization process of young people, since they offer portrayals and models that young people can relate to, identify with or modify and break. Previous studies have shown that teen series continue to perpetuate a stereotyped gender representation and usually reproduce a heteronormative relationship model based on the myth of romantic love following the storyline of ‘Beauty and the Beast’. The present study consists of a close reading of three popular current Netflix teen series: 13 Reasons Why (2017–present), Élite (2018–present) and Sex Education (2019–present). The results show an inversion of the gender archetypes of Beauty and the Beast. The three female protagonists are ‘badasses with a good heart’, embodying the typical archetype of the ‘Beast’, while the three male protagonists are patient, caring, innocent and even virginal, embodying the archetype of the ‘Beauty’. However, unlike in the classic model, the boys fail in their attempts to save their beloved from themselves, and the girls end up suffering irreparable consequences. The tragic end of the female characters condemns them to the impossibility of a redemption that has traditionally been granted to males.
{"title":"The ‘troubled rebel girl’ and the ‘boy-next-door’: The apparent inversion of gender and love archetypes in 13 Reasons Why, Élite and Sex Education","authors":"Maddalena Fedele, M. Masanet","doi":"10.1386/jptv_00061_1","DOIUrl":"https://doi.org/10.1386/jptv_00061_1","url":null,"abstract":"Teen series play a central role in the socialization process of young people, since they offer portrayals and models that young people can relate to, identify with or modify and break. Previous studies have shown that teen series continue to perpetuate a stereotyped gender representation and usually reproduce a heteronormative relationship model based on the myth of romantic love following the storyline of ‘Beauty and the Beast’. The present study consists of a close reading of three popular current Netflix teen series: 13 Reasons Why (2017–present), Élite (2018–present) and Sex Education (2019–present). The results show an inversion of the gender archetypes of Beauty and the Beast. The three female protagonists are ‘badasses with a good heart’, embodying the typical archetype of the ‘Beast’, while the three male protagonists are patient, caring, innocent and even virginal, embodying the archetype of the ‘Beauty’. However, unlike in the classic model, the boys fail in their attempts to save their beloved from themselves, and the girls end up suffering irreparable consequences. The tragic end of the female characters condemns them to the impossibility of a redemption that has traditionally been granted to males.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85517928","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: Global TV Horror, Stacey Abbott and Lorna Jowett (eds) (2021) Cardiff: University of Wales Press, 272 pp., ISBN 978-1-78683-694-6, p/bk, £45
{"title":"Global TV Horror, Stacey Abbott and Lorna Jowett (eds) (2021)","authors":"Nicola Young","doi":"10.1386/jptv_00066_5","DOIUrl":"https://doi.org/10.1386/jptv_00066_5","url":null,"abstract":"Review of: Global TV Horror, Stacey Abbott and Lorna Jowett (eds) (2021)\u0000Cardiff: University of Wales Press, 272 pp.,\u0000ISBN 978-1-78683-694-6, p/bk, £45","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86732429","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 two BBC television adaptations of M. R. James’s classic ghost story ‘Oh, Whistle and I’ll Come to You, My Lad’ (1904), the first directed by Jonathan Miller (1968) and the second by Andy de Emmony (2010). Arguing that de Emmony’s film takes Miller’s as a point of departure, it attempts to track the progressive ‘psychologization’ of James’s tale, a development that it explores with reference to Sarah Cardwell’s notion of ‘meta-textual’ lineage. The article outlines how Miller knowingly reimagines James’s story as a Freudian parable by drawing on the resources of classical psychoanalysis and its understanding of neurosis as the expression of a dynamic interior conflict, one in which something repressed menacingly returns. It goes on to read de Emmony’s film, which reorganizes the story around a case of dementia, as an effort to extend the tale into the psychic terrain of the ‘new wounded’, a term coined by philosopher Catherine Malabou to describe emergent psychopathologies unique to neurological injury or degeneration. Taking conceptual support from Malabou, the article demonstrates both the self-consciousness with which the later adaptation builds from its antecedent and its reinscription of the story within a frame of reference that specifically exceeds the psychoanalytic ontology presupposed by Miller. The films reimagine and contemporize the Jamesian haunting – with its climactic coming of a mysterious other – in ways that are utterly distinct but also cumulatively psychological. Looked at in apposition, the article suggests, they exemplify adaptation not simply as a revival or reconstitution of a past text but as an ongoing, intertextual and incremental labour of reinvention.
{"title":"Who is this who is coming? From neurosis to neurodegeneration in television adaptations of M. R. James’s ‘Oh, Whistle and I’ll Come to You, My Lad’","authors":"Nicholas Ray","doi":"10.1386/jptv_00062_1","DOIUrl":"https://doi.org/10.1386/jptv_00062_1","url":null,"abstract":"This article discusses two BBC television adaptations of M. R. James’s classic ghost story ‘Oh, Whistle and I’ll Come to You, My Lad’ (1904), the first directed by Jonathan Miller (1968) and the second by Andy de Emmony (2010). Arguing that de Emmony’s film takes Miller’s as a point of departure, it attempts to track the progressive ‘psychologization’ of James’s tale, a development that it explores with reference to Sarah Cardwell’s notion of ‘meta-textual’ lineage. The article outlines how Miller knowingly reimagines James’s story as a Freudian parable by drawing on the resources of classical psychoanalysis and its understanding of neurosis as the expression of a dynamic interior conflict, one in which something repressed menacingly returns. It goes on to read de Emmony’s film, which reorganizes the story around a case of dementia, as an effort to extend the tale into the psychic terrain of the ‘new wounded’, a term coined by philosopher Catherine Malabou to describe emergent psychopathologies unique to neurological injury or degeneration. Taking conceptual support from Malabou, the article demonstrates both the self-consciousness with which the later adaptation builds from its antecedent and its reinscription of the story within a frame of reference that specifically exceeds the psychoanalytic ontology presupposed by Miller. The films reimagine and contemporize the Jamesian haunting – with its climactic coming of a mysterious other – in ways that are utterly distinct but also cumulatively psychological. Looked at in apposition, the article suggests, they exemplify adaptation not simply as a revival or reconstitution of a past text but as an ongoing, intertextual and incremental labour of reinvention.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74197511","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}
Although billed as a ‘crime TV drama’, the Netflix series Unbelievable (2019) is more of a docu-drama. The correspondence between fact and fiction creates a powerful empathic relationship with audiences, the nature of which is comprehensible through how this film, alongside more traditional format documentaries on the online platform, engages ‘the real’ through representing bodies and actions that manifest cinematically in ‘the aesthetics of the frame’. What can be described as the occurrency of these manifestations is found both in a present- and past-oriented description of material facts, whether actual or imagined, and a future-oriented sense of becoming that derives from a relationship that docu-subjects and characters have with potentiality in the progression of the story. Some films describe what people do or have done, while others write docu-subjects and characters as people who have a view to the future. This takes the form of both an objective sense of agency qua freedom and autonomy and a subjective sense of psychodynamic potential formed by representations of their conative orientations towards a future. The sense of possibility that emerges reflects a more nuanced and subjectivized sense of becoming than explained by Ilona Hongisto as constituted by the generation of ‘imagination’, ‘fabulation’ and ‘affection’.
{"title":"Degrees of becoming on recent Netflix docu-shows: Representations of women in Unbelievable and Mercury 13 vs. The Keepers and The Staircase","authors":"L. Theo, N. Bechan","doi":"10.1386/jptv_00048_1","DOIUrl":"https://doi.org/10.1386/jptv_00048_1","url":null,"abstract":"Although billed as a ‘crime TV drama’, the Netflix series Unbelievable (2019) is more of a docu-drama. The correspondence between fact and fiction creates a powerful empathic relationship with audiences, the nature of which is comprehensible through how this film,\u0000 alongside more traditional format documentaries on the online platform, engages ‘the real’ through representing bodies and actions that manifest cinematically in ‘the aesthetics of the frame’. What can be described as the occurrency of these manifestations is\u0000 found both in a present- and past-oriented description of material facts, whether actual or imagined, and a future-oriented sense of becoming that derives from a relationship that docu-subjects and characters have with potentiality in the progression of the story. Some films describe\u0000 what people do or have done, while others write docu-subjects and characters as people who have a view to the future. This takes the form of both an objective sense of agency qua freedom and autonomy and a subjective sense of psychodynamic potential formed by representations\u0000 of their conative orientations towards a future. The sense of possibility that emerges reflects a more nuanced and subjectivized sense of becoming than explained by Ilona Hongisto as constituted by the generation of ‘imagination’, ‘fabulation’ and ‘affection’.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41712823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Masculinity and Contemporary Television’: An introduction to the Special Section","authors":"Katherine Byrne, Nerys Young","doi":"10.1386/jptv_00050_2","DOIUrl":"https://doi.org/10.1386/jptv_00050_2","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44040300","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 will study the world of American professional wrestling in connection to the reception of masculine tropes by World Wrestling Entertainment (WWE) fans. Wrestling fans, who are in majority male and traditionally come from the American working class, are in the unique position to voice, or scream, their opinions of positive or negative masculine behaviours that they see live in the ring. Since it is a scripted show (or in wrestling jargon, a ‘work’), it offers us a fascinating insight into how men view masculine behaviour as they view the action from a fictional distance. As unlikely at it may seem, I will argue that based upon their live reception of positive and negative masculine traits, modern WWE fans are surprisingly liberal in their condemnation of masculinist beliefs such as misogyny, having a hatred of oppressive patriarchal systems and, mostly recently, opposing the sleazy objectification of women. I will additionally challenge accusations that wrestling is a fundamentally misogynistic industry, with particular reference to the modern reception of female wrestlers as serious athletes, rather than erotic valets leading males to the ring, or as sex objects in general, with reference to the successful 2015 ‘Divas revolution’ and the company’s decision to rename them ‘superstars’ in all broadcasts ‐ giving them equal status to their male counterparts.
{"title":"WWE fan reception and shifting perceptions of masculinity in the Trump era","authors":"Jonathan McCreedy","doi":"10.1386/jptv_00052_1","DOIUrl":"https://doi.org/10.1386/jptv_00052_1","url":null,"abstract":"This article will study the world of American professional wrestling in connection to the reception of masculine tropes by World Wrestling Entertainment (WWE) fans. Wrestling fans, who are in majority male and traditionally come from the American working class, are in the unique position\u0000 to voice, or scream, their opinions of positive or negative masculine behaviours that they see live in the ring. Since it is a scripted show (or in wrestling jargon, a ‘work’), it offers us a fascinating insight into how men view masculine behaviour as they view the action from\u0000 a fictional distance. As unlikely at it may seem, I will argue that based upon their live reception of positive and negative masculine traits, modern WWE fans are surprisingly liberal in their condemnation of masculinist beliefs such as misogyny, having a hatred of oppressive patriarchal systems\u0000 and, mostly recently, opposing the sleazy objectification of women. I will additionally challenge accusations that wrestling is a fundamentally misogynistic industry, with particular reference to the modern reception of female wrestlers as serious athletes, rather than erotic valets leading\u0000 males to the ring, or as sex objects in general, with reference to the successful 2015 ‘Divas revolution’ and the company’s decision to rename them ‘superstars’ in all broadcasts ‐ giving them equal status to their male counterparts.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49378504","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}
Before 2005, Michael Portillo was a reviled populist, right-wing British Conservative politician. Seemingly, he is a now a mellowed national treasure due largely to his approachable, friendly, prolific series of travelogues, Great British Railway Journeys (2010‐present). This multi-series documentary has been a remarkable BBC success: delivering upbeat music, dynamic camera work, a repetitive format, rosy-tinted Victoriana and celebratory subject matter, the programme makers ensure that the programme is feel-good, cosy, nostalgic and soothing. But Portillo’s political inclinations are apparent: Portillo, sometimes quite subtly, expresses consistently his passion for free enterprise, for the supposed benefits of historical colonialism, for the monarchy, for the military and for social liberalism. A believer in an enterprise-encouraging small state and in personal liberty and social mobility, Portillo’s politics chime in directly with the current thinking of the Conservative Party leadership. In short, the apparently benign travelogue series promotes Portillo’s mainstream post-Thatcherite British Conservatism: an analysis of the ubiquitous programme’s understated but clear Conservatism counters right-wing accusations about the BBC’s alleged leftist bias.
{"title":"From Tory Boy to #sadmanonatrain: Great British Railway Journeys and the hard and soft masculinities of Michael Portillo","authors":"Kevin De Ornellas","doi":"10.1386/jptv_00053_1","DOIUrl":"https://doi.org/10.1386/jptv_00053_1","url":null,"abstract":"Before 2005, Michael Portillo was a reviled populist, right-wing British Conservative politician. Seemingly, he is a now a mellowed national treasure due largely to his approachable, friendly, prolific series of travelogues, Great British Railway Journeys (2010‐present).\u0000 This multi-series documentary has been a remarkable BBC success: delivering upbeat music, dynamic camera work, a repetitive format, rosy-tinted Victoriana and celebratory subject matter, the programme makers ensure that the programme is feel-good, cosy, nostalgic and soothing. But Portillo’s\u0000 political inclinations are apparent: Portillo, sometimes quite subtly, expresses consistently his passion for free enterprise, for the supposed benefits of historical colonialism, for the monarchy, for the military and for social liberalism. A believer in an enterprise-encouraging small state\u0000 and in personal liberty and social mobility, Portillo’s politics chime in directly with the current thinking of the Conservative Party leadership. In short, the apparently benign travelogue series promotes Portillo’s mainstream post-Thatcherite British Conservatism: an analysis\u0000 of the ubiquitous programme’s understated but clear Conservatism counters right-wing accusations about the BBC’s alleged leftist bias.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44094740","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}
One Thousand and One Nights is a composite, transnational work, consisting of popular stories originally transmitted orally within its embedded cultures and developed over several centuries. Ever since its translation into European languages in the nineteenth century, or perhaps even before, it has been adapted and appropriated into different forms and mediums and thus has reached different corners of the world. This project was inspired by the level of popularity of One Thousand and One Nights, often known as The Arabian Nights, in the world today. Although only a relatively small number of people might have read all the tales, we can safely assume that most people do have an idea of what the Nights are, whilst some could even name one or two films, series or cartoons that they think are based on the Nights. Indeed, only a very limited number of stories included in editions of the Nights have been adapted into films or TV series. There are two main characteristics of the Nights that help identify adaptations and adoptions in popular culture: embedded storytelling using a frame tale, and the ‘feminist’, emancipating heroine Scheherazade. The popular Turkish TV series Binbir Gece (One Thousand and One Nights) (2006‐09), which this article focuses on, not only makes use of these two popular features; it also offers a fresh and contemporary adaptation of the frame story of Shah Shahriyar and Scheherazade and elements from many other tales from the Nights, such as the emphasis on the importance of education for women, or the evil of cunning women. After analysing the degree of adaptation of the frame story in this series, this article sheds light on its global reach, reception and popularity.
{"title":"Scheherazade in Istanbul: A study of the popular Turkish TV series Binbir Gece","authors":"Maryam Ghorbankarimi","doi":"10.1386/JPTV_00047_1","DOIUrl":"https://doi.org/10.1386/JPTV_00047_1","url":null,"abstract":"One Thousand and One Nights is a composite, transnational work, consisting of popular stories originally transmitted orally within its embedded cultures and developed over several centuries. Ever since its translation into European languages in the nineteenth century, or perhaps\u0000 even before, it has been adapted and appropriated into different forms and mediums and thus has reached different corners of the world. This project was inspired by the level of popularity of One Thousand and One Nights, often known as The Arabian Nights, in the world today.\u0000 Although only a relatively small number of people might have read all the tales, we can safely assume that most people do have an idea of what the Nights are, whilst some could even name one or two films, series or cartoons that they think are based on the Nights. Indeed, only\u0000 a very limited number of stories included in editions of the Nights have been adapted into films or TV series. There are two main characteristics of the Nights that help identify adaptations and adoptions in popular culture: embedded storytelling using a frame tale, and the ‘feminist’,\u0000 emancipating heroine Scheherazade. The popular Turkish TV series Binbir Gece (One Thousand and One Nights) (2006‐09), which this article focuses on, not only makes use of these two popular features; it also offers a fresh and contemporary adaptation of the frame story\u0000 of Shah Shahriyar and Scheherazade and elements from many other tales from the Nights, such as the emphasis on the importance of education for women, or the evil of cunning women. After analysing the degree of adaptation of the frame story in this series, this article sheds light on\u0000 its global reach, reception and popularity.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42641619","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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