Pub Date : 2022-05-04DOI: 10.1080/17411548.2022.2074958
Owen M. Evans, G. Harper
In an interview with the Los Angeles Times in 1986 about German electronic band Tangerine Dream’s soundtrack for Ridley Scott’s Legend, the late Edgar Froese, the band’s founding member, remarked that ‘a lot of soundtracks are quite boring because they just work with the picture. I think you should also be able to listen to it on record’ (Smith 1986). At that point, Tangerine Dream had already worked with the likes of William Friedkin and Michael Mann, on Sorcerer (1977) and Thief (1981) respectively, as their particular brand of sequencer-driven synthesiser music was deemed a particularly suitable accompaniment for films in a period when electronic music was coming to the fore culturally. Of course, Wendy Carlos had already produced a film soundtrack composed entirely on a Moog modular synthesiser for Stanley Kubrick’s A Clockwork Orange (1971), which blended original compositions alongside adaptations of classical pieces by Beethoven, Rossini and Elgar. Famously, Carlos had recorded arguably the first truly pioneering electronic album in 1968 with Switched-On Bach, which raised the profile of Moog synthesisers to such an extent that musicians such as Kraftwerk, the aforementioned Tangerine Dream and Jean-Michel Jarre would go on to popularise them and other brands of synthesiser with seminal albums such as Autobahn, Rubycon and Oxygène respectively in the mid 1970s. These albums would in turn inspire the likes of David Bowie, Gary Numan, Orchestral Manoeuvres in the Dark, The Human League and Depeche Mode in the late 1970s with the result that the synthesiser has become a staple instrument for musicians ever since. Whether we agree with Froese or not about the necessity for a film score to have a life of its own beyond the realm of film, there is little doubt that myriad classic films would have had much less impact without the composers’ contribution to the mix. It is no surprise, therefore, that the names of so many directors are inseparable from the composers who scored their films. Think of Alfred Hitchcock and Bernard Herrmann (North by Northwest; Psycho; Vertigo), Sergio Leone and Ennio Morricone (A Fistful of Dollars; The Good, the Bad and the Ugly; Once Upon a Time in the West), George Lucas or Steven Spielberg and John Williams (Jaws; Star Wars; Raiders of the Lost Ark; Schindler’s List), and more recently Christoper Nolan and Hans Zimmer (The Dark Night; Inception; Interstellar). However, it is Zimmer’s recent work with Denis Villeneuve, which has brought him particular acclaim, winning the Oscar for Best Original Score for Dune (2021) at the 2022 ceremony, now forever overshadowed by Will Smith’s unfortunate confrontation with Chris Rock. In many ways, though, it is Villeneuve and Zimmer’s previous collaboration on Blade Runner 2049 (2017) that is especially interesting, inasmuch as both were responding respectively to the partnership between Ridley Scott and Vangelis on an iconic film with arguably one of the most influential origin
{"title":"‘A lot of soundtracks are quite boring’","authors":"Owen M. Evans, G. Harper","doi":"10.1080/17411548.2022.2074958","DOIUrl":"https://doi.org/10.1080/17411548.2022.2074958","url":null,"abstract":"In an interview with the Los Angeles Times in 1986 about German electronic band Tangerine Dream’s soundtrack for Ridley Scott’s Legend, the late Edgar Froese, the band’s founding member, remarked that ‘a lot of soundtracks are quite boring because they just work with the picture. I think you should also be able to listen to it on record’ (Smith 1986). At that point, Tangerine Dream had already worked with the likes of William Friedkin and Michael Mann, on Sorcerer (1977) and Thief (1981) respectively, as their particular brand of sequencer-driven synthesiser music was deemed a particularly suitable accompaniment for films in a period when electronic music was coming to the fore culturally. Of course, Wendy Carlos had already produced a film soundtrack composed entirely on a Moog modular synthesiser for Stanley Kubrick’s A Clockwork Orange (1971), which blended original compositions alongside adaptations of classical pieces by Beethoven, Rossini and Elgar. Famously, Carlos had recorded arguably the first truly pioneering electronic album in 1968 with Switched-On Bach, which raised the profile of Moog synthesisers to such an extent that musicians such as Kraftwerk, the aforementioned Tangerine Dream and Jean-Michel Jarre would go on to popularise them and other brands of synthesiser with seminal albums such as Autobahn, Rubycon and Oxygène respectively in the mid 1970s. These albums would in turn inspire the likes of David Bowie, Gary Numan, Orchestral Manoeuvres in the Dark, The Human League and Depeche Mode in the late 1970s with the result that the synthesiser has become a staple instrument for musicians ever since. Whether we agree with Froese or not about the necessity for a film score to have a life of its own beyond the realm of film, there is little doubt that myriad classic films would have had much less impact without the composers’ contribution to the mix. It is no surprise, therefore, that the names of so many directors are inseparable from the composers who scored their films. Think of Alfred Hitchcock and Bernard Herrmann (North by Northwest; Psycho; Vertigo), Sergio Leone and Ennio Morricone (A Fistful of Dollars; The Good, the Bad and the Ugly; Once Upon a Time in the West), George Lucas or Steven Spielberg and John Williams (Jaws; Star Wars; Raiders of the Lost Ark; Schindler’s List), and more recently Christoper Nolan and Hans Zimmer (The Dark Night; Inception; Interstellar). However, it is Zimmer’s recent work with Denis Villeneuve, which has brought him particular acclaim, winning the Oscar for Best Original Score for Dune (2021) at the 2022 ceremony, now forever overshadowed by Will Smith’s unfortunate confrontation with Chris Rock. In many ways, though, it is Villeneuve and Zimmer’s previous collaboration on Blade Runner 2049 (2017) that is especially interesting, inasmuch as both were responding respectively to the partnership between Ridley Scott and Vangelis on an iconic film with arguably one of the most influential origin","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47403801","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 : 2022-05-04DOI: 10.1080/17411548.2022.2073770
Agata Lulkowska
Donovan and Fairport Convention’ (136); a quotation that This Is England ‘seemingly portrays the East Midlands with a coast’ (143) provides revelation unlikely to surprise Lincolnshire folk. Trivially – nevertheless irritatingly – a hare is called a rabbit (191). The brief conclusion states Forrest ‘has consciously avoided discussion of the institutional and production contexts’ (195) – notwithstanding the Traditions in World Cinema rubric (ix). As British cinema mutates, his ongoing project positions him well to track developments and, crucially, their meanings and causes. New Realism, which could have been clearer in half the words, or have explored in depth and scope within the same limitations, indicates what Forrest could do but frustratingly has not achieved.
{"title":"Women in Iberian filmic culture: a feminist approach to the cinemas of Portugal and Spain","authors":"Agata Lulkowska","doi":"10.1080/17411548.2022.2073770","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073770","url":null,"abstract":"Donovan and Fairport Convention’ (136); a quotation that This Is England ‘seemingly portrays the East Midlands with a coast’ (143) provides revelation unlikely to surprise Lincolnshire folk. Trivially – nevertheless irritatingly – a hare is called a rabbit (191). The brief conclusion states Forrest ‘has consciously avoided discussion of the institutional and production contexts’ (195) – notwithstanding the Traditions in World Cinema rubric (ix). As British cinema mutates, his ongoing project positions him well to track developments and, crucially, their meanings and causes. New Realism, which could have been clearer in half the words, or have explored in depth and scope within the same limitations, indicates what Forrest could do but frustratingly has not achieved.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44674272","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 : 2022-05-04DOI: 10.1080/17411548.2022.2073774
D. Iordanova
{"title":"An international study of film museums","authors":"D. Iordanova","doi":"10.1080/17411548.2022.2073774","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073774","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42895574","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 : 2022-05-04DOI: 10.1080/17411548.2022.2073174
P. Sutton
{"title":"The cinema of Paolo Sorrentino: commitment to style","authors":"P. Sutton","doi":"10.1080/17411548.2022.2073174","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073174","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48877509","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 : 2022-05-04DOI: 10.1080/17411548.2022.2073771
Mariana Liz
Cinema of Crisis: Film and Contemporary Europe came out two years after the symposium upon which it was based, and which took place at the University of Leeds in 2018. By the time of the book’s release, then, the financial crisis that had most likely motivated this initiative, even if its effects were still being felt, had been overcome in most European countries – only for a very different crisis to hit Europe, as well as the rest of the world. Indeed, 2020 will certainly be remembered as one of the most difficult years in recent decades, with the pandemic caused by the Covid-19 virus having permanent implications for the globe’s political, social and cultural life. While it may seem irrelevant to read this collection of essays through the lens of Covid-19, since no one could foresee what was to come during the period of the book’s production, many of the issues raised by Cinema of Crisis are not only tied to, but have also been exacerbated by the pandemic. And this connection to the pandemic contributes to the volume’s ongoing relevance. A timely contribution to important debates arising in Europe and contemporary film about intersectional forms of marginality and discrimination, Austin and Koutsourakis nonetheless face a key challenge when writing about Europe, namely to present a comprehensive rather than a merely comparative approach. Although the volume’s case studies are clearly focused on different European countries, the European dimension is, however, not foregrounded by the editors – and the reader is not told how many pieces from or about which countries are included in the book, with many of the chapters addressing films and national contexts covered elsewhere in the volume. If the European dimension is not clearly addressed, the crisis also appears as too vague a signifier for the volume’s main title to emerge as particularly meaningful. The introduction collates a series of statements about the state of the world without telling the reader what the potential implications are of the facts described, or how contemporary European cinema can help us to rethink these topics beyond an illustrative character. A telling paragraph of the vagueness that characterises the introduction’s writing, could, until its very last words, be about any film style, period or grouping. As follows:
{"title":"Cinema of crisis: film and contemporary Europe","authors":"Mariana Liz","doi":"10.1080/17411548.2022.2073771","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073771","url":null,"abstract":"Cinema of Crisis: Film and Contemporary Europe came out two years after the symposium upon which it was based, and which took place at the University of Leeds in 2018. By the time of the book’s release, then, the financial crisis that had most likely motivated this initiative, even if its effects were still being felt, had been overcome in most European countries – only for a very different crisis to hit Europe, as well as the rest of the world. Indeed, 2020 will certainly be remembered as one of the most difficult years in recent decades, with the pandemic caused by the Covid-19 virus having permanent implications for the globe’s political, social and cultural life. While it may seem irrelevant to read this collection of essays through the lens of Covid-19, since no one could foresee what was to come during the period of the book’s production, many of the issues raised by Cinema of Crisis are not only tied to, but have also been exacerbated by the pandemic. And this connection to the pandemic contributes to the volume’s ongoing relevance. A timely contribution to important debates arising in Europe and contemporary film about intersectional forms of marginality and discrimination, Austin and Koutsourakis nonetheless face a key challenge when writing about Europe, namely to present a comprehensive rather than a merely comparative approach. Although the volume’s case studies are clearly focused on different European countries, the European dimension is, however, not foregrounded by the editors – and the reader is not told how many pieces from or about which countries are included in the book, with many of the chapters addressing films and national contexts covered elsewhere in the volume. If the European dimension is not clearly addressed, the crisis also appears as too vague a signifier for the volume’s main title to emerge as particularly meaningful. The introduction collates a series of statements about the state of the world without telling the reader what the potential implications are of the facts described, or how contemporary European cinema can help us to rethink these topics beyond an illustrative character. A telling paragraph of the vagueness that characterises the introduction’s writing, could, until its very last words, be about any film style, period or grouping. As follows:","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42394295","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 : 2022-05-03DOI: 10.1080/17411548.2022.2064154
Ying-shan Chen
ABSTRACT When addressing the concept of desire, it is similar to inspecting the experience for which cinemas usually offer because there is a type of language as a default affirming the viewer can be involved into the process of transformation of understanding. In the cinema La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour, such a defaulted language is complex, covering the cinema techniques, its realism style, and the controversial topic related to gender and sexuality. It is certainly to arouse the critiques upon its deployment of the protagonist’s desire, which brutally shows the intimate scene related to sexuality. On the one hand, it looks like apparently joining in the torrent of sexualising the female identity. On the other hand, it is undeniable to perceive there is an affect the cinema arouses to maintain a caring sentiment for the protagonist whose cinematic identity is not only restricted to the female. Moreover, such an affect is retroactive for rethinking the viewer’s ‘desire’ toward this cinema. This article argues that the complexity of such an affect reflects ‘The Lack’ in social discourse, which is beyond the definition of sexuality and gender but toward the concept of desire as the being.
{"title":"Desire as the being in La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour","authors":"Ying-shan Chen","doi":"10.1080/17411548.2022.2064154","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064154","url":null,"abstract":"ABSTRACT When addressing the concept of desire, it is similar to inspecting the experience for which cinemas usually offer because there is a type of language as a default affirming the viewer can be involved into the process of transformation of understanding. In the cinema La vie d’Adèle, chapitres 1 & 2/Blue is the warmest colour, such a defaulted language is complex, covering the cinema techniques, its realism style, and the controversial topic related to gender and sexuality. It is certainly to arouse the critiques upon its deployment of the protagonist’s desire, which brutally shows the intimate scene related to sexuality. On the one hand, it looks like apparently joining in the torrent of sexualising the female identity. On the other hand, it is undeniable to perceive there is an affect the cinema arouses to maintain a caring sentiment for the protagonist whose cinematic identity is not only restricted to the female. Moreover, such an affect is retroactive for rethinking the viewer’s ‘desire’ toward this cinema. This article argues that the complexity of such an affect reflects ‘The Lack’ in social discourse, which is beyond the definition of sexuality and gender but toward the concept of desire as the being.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43897370","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 : 2022-05-03DOI: 10.1080/17411548.2022.2073169
Ecem Yıldırım
{"title":"Post-Unification Turkish German cinema: work, globalisation and politics beyond representation","authors":"Ecem Yıldırım","doi":"10.1080/17411548.2022.2073169","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073169","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42847382","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 : 2022-04-26DOI: 10.1080/17411548.2022.2064156
Szidonia Haragos
ABSTRACT
The article highlights the cinematic portrayal of a woman’s exceptional affective agency against the backdrop of historical trauma, more specifically, of the Holocaust in Hungary, in Hungarian director Istvan Szabo’s The Door (Az ajto 2012) based on Hungarian writer Magda Szabo’s eponymous novel The Door (Az ajto 1987). Through a juxtaposition of the cinematic and the literary text, the article discusses central protagonist Emerenc Szeredas’s affective transaction to save the life of a little Jewish girl in Nazi-occupied Budapest. Emerenc’s ‘affective bargain’ through which she sustains the ‘cruel optimism’ (Lauren Berlant) of love and compassion pits her gendered capital against devalued Jewish life. The film conveys the costs of such an affective transaction and Emerenc’s ultimate failure to achieve ‘the good life’ (Sara Ahmed) of societal expectations. What transpires in The Door at the convergence of cinematic discourse and literary text is female agency constrained within the severely limited terrain of patriarchal economy. In terms of Istvan Szabo’s cinematography, The Door instantiates yet another engagement with the Holocaust as Szabo’s lifelong preoccupation, and it stands for a significant intervention into the current post-Holocaust memory discourse in Hungary.
{"title":"Women’s affective transactions and the memory of Hungarian (historical) affairs: Istvan Szabo’s The Door (2012)","authors":"Szidonia Haragos","doi":"10.1080/17411548.2022.2064156","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064156","url":null,"abstract":"<p><b>ABSTRACT</b></p><p>The article highlights the cinematic portrayal of a woman’s exceptional affective agency against the backdrop of historical trauma, more specifically, of the Holocaust in Hungary, in Hungarian director Istvan Szabo’s <i>The Door</i> (<i>Az ajto</i> 2012) based on Hungarian writer Magda Szabo’s eponymous novel <i>The Door (Az ajto</i> 1987). Through a juxtaposition of the cinematic and the literary text, the article discusses central protagonist Emerenc Szeredas’s affective transaction to save the life of a little Jewish girl in Nazi-occupied Budapest. Emerenc’s ‘affective bargain’ through which she sustains the ‘cruel optimism’ (Lauren Berlant) of love and compassion pits her gendered capital against devalued Jewish life. The film conveys the costs of such an affective transaction and Emerenc’s ultimate failure to achieve ‘the good life’ (Sara Ahmed) of societal expectations. What transpires in <i>The Door</i> at the convergence of cinematic discourse and literary text is female agency constrained within the severely limited terrain of patriarchal economy. In terms of Istvan Szabo’s cinematography, <i>The Door</i> instantiates yet another engagement with the Holocaust as Szabo’s lifelong preoccupation, and it stands for a significant intervention into the current post-Holocaust memory discourse in Hungary.</p>","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138516709","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 : 2022-04-22DOI: 10.1080/17411548.2022.2064155
J. Solves, Sebastián Sánchez-Castillo, Begoña Siles
{"title":"Step right up and take a whiff! Does incorporating scents in film projection increase viewer enjoyment?","authors":"J. Solves, Sebastián Sánchez-Castillo, Begoña Siles","doi":"10.1080/17411548.2022.2064155","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064155","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48684922","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 : 2022-04-22DOI: 10.1080/17411548.2022.2064157
Melis Öneren Özbek
{"title":"Seeking another justice in Fatih Akın’s “The Edge of Heaven” (2004) and “In the Fade” (2017)","authors":"Melis Öneren Özbek","doi":"10.1080/17411548.2022.2064157","DOIUrl":"https://doi.org/10.1080/17411548.2022.2064157","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48501290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：