Pub Date : 2022-02-15DOI: 10.1080/17411548.2022.2031804
Aswin Prasanth
ABSTRACT Béla Tarr’s later films stand out as paradigms of spatial politics in European film culture. They visualize the experience of abject heterotopia through a series of spatial metaphors. This article is a spatial critique of Tarr’s later films Sátántangó, Werckmeister Harmonies and The Turin Horse. The critique is based on cultural heterotopology, a reformulation of Foucauldian heterotopology by Henri Lefebvre and Edward Soja. The horror of abjection, that seems to pervade the spatiality of these films, calls for alternative (re)ordering of the social space. Tarr presents a social space consistently characterized by desolation and poverty which contemporary Hungary has been reduced to.
{"title":"Filming abject Heterotopias: a spatial critique of Béla Tarr’s select later films","authors":"Aswin Prasanth","doi":"10.1080/17411548.2022.2031804","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031804","url":null,"abstract":"ABSTRACT Béla Tarr’s later films stand out as paradigms of spatial politics in European film culture. They visualize the experience of abject heterotopia through a series of spatial metaphors. This article is a spatial critique of Tarr’s later films Sátántangó, Werckmeister Harmonies and The Turin Horse. The critique is based on cultural heterotopology, a reformulation of Foucauldian heterotopology by Henri Lefebvre and Edward Soja. The horror of abjection, that seems to pervade the spatiality of these films, calls for alternative (re)ordering of the social space. Tarr presents a social space consistently characterized by desolation and poverty which contemporary Hungary has been reduced to.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46640272","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 : 2022-02-07DOI: 10.1080/17411548.2022.2031805
K. Chapman
ABSTRACT This article focuses on therapeutic filmmaking and how it is used by analyzing selected works of Agnès Varda and Sophie Calle. I assert that these artists used this approach to assist them with processing grief after the deaths of their loved one by analyzing selected works from the genres of documentary, journal intime, and visual art. An overview of palliative care and palliative arts, and their relationship with therapeutic filmmaking is also included in this article.
{"title":"The Use of Therapeutic Film Making: Agnes Varda and Sophie Calle","authors":"K. Chapman","doi":"10.1080/17411548.2022.2031805","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031805","url":null,"abstract":"ABSTRACT This article focuses on therapeutic filmmaking and how it is used by analyzing selected works of Agnès Varda and Sophie Calle. I assert that these artists used this approach to assist them with processing grief after the deaths of their loved one by analyzing selected works from the genres of documentary, journal intime, and visual art. An overview of palliative care and palliative arts, and their relationship with therapeutic filmmaking is also included in this article.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46038138","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 : 2022-02-02DOI: 10.1080/17411548.2022.2031806
E. Mazierska
ABSTRACT This article examines four Eastern European musicals made during the period of postcommunism, but presenting life under state socialism, Czech Šakali leta (Big Beat, 1993), directed by Jan Hřebejk, Hungarian Made in Hungaria (2009), directed by Gergely Fonyó, and two Polish films, Córki dancingu (The Lure, 2015), directed by Agnieszka Smoczyńska and Zimna wojna (Cold War, 2018), directed by Paweł Pawlikowski, from the perspective of their attitude to both western and their own culture and popular music. The argument is that each film assesses this culture differently and this assessment can be seen as a reflection of the period when these films were made and which they depict, the aspect of Western culture they focus on, as well as the position of indigenous popular music in the communist period. An additional reason to put these films together is that they use the trope of somebody returning to his native country from the real or imaginary West. The piece draws on the history of Eastern Europe and its popular music and the concept of self-colonisation.
{"title":"From self-colonisation to conquest in Eastern European postcommunist musicals","authors":"E. Mazierska","doi":"10.1080/17411548.2022.2031806","DOIUrl":"https://doi.org/10.1080/17411548.2022.2031806","url":null,"abstract":"ABSTRACT This article examines four Eastern European musicals made during the period of postcommunism, but presenting life under state socialism, Czech Šakali leta (Big Beat, 1993), directed by Jan Hřebejk, Hungarian Made in Hungaria (2009), directed by Gergely Fonyó, and two Polish films, Córki dancingu (The Lure, 2015), directed by Agnieszka Smoczyńska and Zimna wojna (Cold War, 2018), directed by Paweł Pawlikowski, from the perspective of their attitude to both western and their own culture and popular music. The argument is that each film assesses this culture differently and this assessment can be seen as a reflection of the period when these films were made and which they depict, the aspect of Western culture they focus on, as well as the position of indigenous popular music in the communist period. An additional reason to put these films together is that they use the trope of somebody returning to his native country from the real or imaginary West. The piece draws on the history of Eastern Europe and its popular music and the concept of self-colonisation.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42105079","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 : 2022-02-02DOI: 10.1080/17411548.2022.2027221
Ryan Calabretta-Sajder
ABSTRACT In Emanuel Crialese’s film Nuovomondo/Golden Door (2006), the seemingly independent British citizen, Lucy, migrates from Sicily to the United States alongside the Sicilian Mancuso family because Lucy must be betrothed to a man. This paper examines Lucy’s character and her agency and analyzes how she develops into a feminist figure. Beyond exploring her feminist qualities, this piece illustrates how she, in fact, controls the male gaze, which challenges Laura Mulvey and E. Ann Kaplan’s approach to gaze theory. Through her agency, she, the female character, leads Salvatore Mancuso and his family to the New World.
{"title":"Who’s looking as whom? Lucy/Luce: the ‘new’ woman in the ‘New’ World","authors":"Ryan Calabretta-Sajder","doi":"10.1080/17411548.2022.2027221","DOIUrl":"https://doi.org/10.1080/17411548.2022.2027221","url":null,"abstract":"ABSTRACT In Emanuel Crialese’s film Nuovomondo/Golden Door (2006), the seemingly independent British citizen, Lucy, migrates from Sicily to the United States alongside the Sicilian Mancuso family because Lucy must be betrothed to a man. This paper examines Lucy’s character and her agency and analyzes how she develops into a feminist figure. Beyond exploring her feminist qualities, this piece illustrates how she, in fact, controls the male gaze, which challenges Laura Mulvey and E. Ann Kaplan’s approach to gaze theory. Through her agency, she, the female character, leads Salvatore Mancuso and his family to the New World.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44124332","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 : 2022-01-24DOI: 10.1080/17411548.2022.2073768
Zsófia Orosz-Réti
{"title":"Post-crisis European cinema: white men in off-modern landscapes","authors":"Zsófia Orosz-Réti","doi":"10.1080/17411548.2022.2073768","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073768","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"216 - 218"},"PeriodicalIF":0.2,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47861764","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: 10.1080/17411548.2019.1580025
Elizabeth M. Ward
{"title":"Screening Auschwitz: Wanda Jakubowska’s The Last Stage and the politics of commemoration","authors":"Elizabeth M. Ward","doi":"10.1080/17411548.2019.1580025","DOIUrl":"https://doi.org/10.1080/17411548.2019.1580025","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"78 - 79"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2019.1580025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59929686","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: 10.1080/17411548.2020.1741129
Felipe Espinoza Garrido
{"title":"Desires for reality: radicalism and revolution in Western European film","authors":"Felipe Espinoza Garrido","doi":"10.1080/17411548.2020.1741129","DOIUrl":"https://doi.org/10.1080/17411548.2020.1741129","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"90 - 91"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411548.2020.1741129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59930242","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: 10.1080/17411548.2022.2049501
Owen Evans, Graeme Harper
As Russian forces launched their attack on Ukraine in February 2022, which had a sad inevitability after weeks of ‘sabre-rattling’ from the Kremlin – an accusation former German Chancellor Gerhard Schröder levelled at Kyiv – a continent slowly emerging from the ravages of the coronavirus pandemic braced itself for more uncertainty. The images of refugees fleeing the country were heartbreaking to see yet again; social media platforms now mean such pictures of distress are so much more prevalent than ever. Equally striking though was the number of Ukrainian civilians who vowed to stay and take up arms against the invading forces. It was in that context that the film Hurricane: 303 Squadron (Blair, 2018) struck a chord. Based on the squadron formed of exiled Polish fighter pilots who had fled their homeland after the Nazi invasion in September 1939, the film eulogises the bravery of the men, pilots and ground crew who made such a vital contribution to the eventual victory in the Battle of Britain. Indeed, 303 Squadron was reputed to have shot down more enemy aircraft than any other during the Battle, with the one Czech in the squadron, Flight Sergeant Josef Frantisek, the leading ace in terms of confirmed kills. As Commander-in-Chief of Fighter Command, Air Chief Marshal Sir Hugh Dowding, would later observe: ‘Had it not been for the magnificent material contributed by the Polish squadrons and their unsurpassed gallantry, I hesitate to say that the outcome of the Battle would have been the same’ (Polish Embassy UK 2020). Leslie Felperin’s review in The Guardian is a little dismissive of the way the film can be set alongside so many other rather melodramatic or formulaic World War Two dramas, containing ‘the required guns blazing and handsome chaps being heroic, stoic and panicstriken’ (2018). He therefore compares it rather unfavourably to Christopher Nolan’s Dunkirk from the previous year, though he acknowledges that Blair had a much smaller budget at his disposal and actually manages to orchestrate affairs relatively well overall. In truth, the inclusion of the love story between protagonist Jan Zumbach, convincingly played by Welsh actor Iwan Rheon, fresh from success in Game of Thrones, and Phyllis Lambert (Stefanie Martini), does evoke memories of Jan Svērák’s Dark Blue World (2001), with its comparable story of exiled Czech pilots fleeing to Britain to carry the fight to the Germans. But no matter that the film might betray the usual instances of truelife history being adapted for the screen with the creative flourishes that can antagonise historians, Hurricane has perhaps belatedly acquired additional significance in the wake of the Ukrainian crisis. What is particularly unsettling, in view of the British Government’s reluctance to issue visas for refugees from the conflict, is the film’s poignant conclusion at the end of the war with the surviving pilots toasting their fallen comrades before being expelled from Britain, irrespective of their
{"title":"Editorial","authors":"Owen Evans, Graeme Harper","doi":"10.1080/17411548.2022.2049501","DOIUrl":"https://doi.org/10.1080/17411548.2022.2049501","url":null,"abstract":"As Russian forces launched their attack on Ukraine in February 2022, which had a sad inevitability after weeks of ‘sabre-rattling’ from the Kremlin – an accusation former German Chancellor Gerhard Schröder levelled at Kyiv – a continent slowly emerging from the ravages of the coronavirus pandemic braced itself for more uncertainty. The images of refugees fleeing the country were heartbreaking to see yet again; social media platforms now mean such pictures of distress are so much more prevalent than ever. Equally striking though was the number of Ukrainian civilians who vowed to stay and take up arms against the invading forces. It was in that context that the film Hurricane: 303 Squadron (Blair, 2018) struck a chord. Based on the squadron formed of exiled Polish fighter pilots who had fled their homeland after the Nazi invasion in September 1939, the film eulogises the bravery of the men, pilots and ground crew who made such a vital contribution to the eventual victory in the Battle of Britain. Indeed, 303 Squadron was reputed to have shot down more enemy aircraft than any other during the Battle, with the one Czech in the squadron, Flight Sergeant Josef Frantisek, the leading ace in terms of confirmed kills. As Commander-in-Chief of Fighter Command, Air Chief Marshal Sir Hugh Dowding, would later observe: ‘Had it not been for the magnificent material contributed by the Polish squadrons and their unsurpassed gallantry, I hesitate to say that the outcome of the Battle would have been the same’ (Polish Embassy UK 2020). Leslie Felperin’s review in The Guardian is a little dismissive of the way the film can be set alongside so many other rather melodramatic or formulaic World War Two dramas, containing ‘the required guns blazing and handsome chaps being heroic, stoic and panicstriken’ (2018). He therefore compares it rather unfavourably to Christopher Nolan’s Dunkirk from the previous year, though he acknowledges that Blair had a much smaller budget at his disposal and actually manages to orchestrate affairs relatively well overall. In truth, the inclusion of the love story between protagonist Jan Zumbach, convincingly played by Welsh actor Iwan Rheon, fresh from success in Game of Thrones, and Phyllis Lambert (Stefanie Martini), does evoke memories of Jan Svērák’s Dark Blue World (2001), with its comparable story of exiled Czech pilots fleeing to Britain to carry the fight to the Germans. But no matter that the film might betray the usual instances of truelife history being adapted for the screen with the creative flourishes that can antagonise historians, Hurricane has perhaps belatedly acquired additional significance in the wake of the Ukrainian crisis. What is particularly unsettling, in view of the British Government’s reluctance to issue visas for refugees from the conflict, is the film’s poignant conclusion at the end of the war with the surviving pilots toasting their fallen comrades before being expelled from Britain, irrespective of their","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"1 - 3"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41974530","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 : 2021-11-17DOI: 10.1080/17411548.2021.2004010
Alexander Woodman
ABSTRACT This article transcribes an interview with the President of the European Film Academy, film director and scriptwriter Agnieszka Holland. It traces the filmmaker’s journey from her early filmmaking career and the potential influence of acting as a global citizen. Agnieszka Holland studied directing at the Film and TV School of the Academy of Performing Arts (FAMU) in Prague. She began her career as an assistant director to Krzysztof Zanussi and Andrzej Wajda as her mentor. In 1977, Agnieszka Holland made her co-directing debut with ‘Screen Tests.’ In 1978, Holland wrote her first screenplay for Wajda, ‘Without Anaesthesia.’ Her solo feature directing debut started with ‘Provincial Actors,’ which won the International Critics Prize at Cannes Film Festival (1980). Since then, she has directed over 30 films, won numerous awards, including the Golden Globe and Silver Bear Berlinale. Agnieszka Holland was nominated for a BAFTA and Emmy, while her films ‘Angry Harvest’ (1985), ‘Europa Europa’ (1990), and ‘In Darkness’ (2011) were nominated for an Academy Award. The emotional impact and foresight of these films have earned her international fame. Throughout her career, Holland’s vision of cinematography and the way reality is depicted influenced the further history of cinema.
{"title":"Discussion with the President of the European Film Academy, Agnieszka Holland","authors":"Alexander Woodman","doi":"10.1080/17411548.2021.2004010","DOIUrl":"https://doi.org/10.1080/17411548.2021.2004010","url":null,"abstract":"ABSTRACT This article transcribes an interview with the President of the European Film Academy, film director and scriptwriter Agnieszka Holland. It traces the filmmaker’s journey from her early filmmaking career and the potential influence of acting as a global citizen. Agnieszka Holland studied directing at the Film and TV School of the Academy of Performing Arts (FAMU) in Prague. She began her career as an assistant director to Krzysztof Zanussi and Andrzej Wajda as her mentor. In 1977, Agnieszka Holland made her co-directing debut with ‘Screen Tests.’ In 1978, Holland wrote her first screenplay for Wajda, ‘Without Anaesthesia.’ Her solo feature directing debut started with ‘Provincial Actors,’ which won the International Critics Prize at Cannes Film Festival (1980). Since then, she has directed over 30 films, won numerous awards, including the Golden Globe and Silver Bear Berlinale. Agnieszka Holland was nominated for a BAFTA and Emmy, while her films ‘Angry Harvest’ (1985), ‘Europa Europa’ (1990), and ‘In Darkness’ (2011) were nominated for an Academy Award. The emotional impact and foresight of these films have earned her international fame. Throughout her career, Holland’s vision of cinematography and the way reality is depicted influenced the further history of cinema.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46671402","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 : 2021-10-24DOI: 10.1080/17411548.2021.1989159
Thomas Austin
ABSTRACT This paper investigates how László Nemes’ Sunset (Napszállta 2018), a drama set in Budapest of the early 1910s, gestures to but problematises the pleasures of ‘heritage space’. The film combines the careful assembly of period mise en scène with a countervailing and systematic attenuation of this reconstruction, achieved through tight framing, shallow focus and extreme focalisation on the protagonist Írisz Leiter. This strategy consigns many of the splendours of Belle Époque Budapest to off-screen or out-of-focus space. I explore how Sunset’s deployment and complication of the visual, and narrative, pleasures of the period film engages critically with attitudes towards history and the past; the resulting response to the film among Hungarian reviewers; and the gender politics of the film. The institutionalised gender abuse behind the beautiful façade of the Leiter hat store and its opulent clients parallels contemporary scandals. Like many period films, Sunset is set on the cusp of change, a moment when ‘the present imagines itself to have been born and history forever changed’. But it refuses to be sealed off as a closed history to be either nostalgically enjoyed or smugly judged at a safe distance from the present.
{"title":"Sunset (Napszállta) and the politics of the period film","authors":"Thomas Austin","doi":"10.1080/17411548.2021.1989159","DOIUrl":"https://doi.org/10.1080/17411548.2021.1989159","url":null,"abstract":"ABSTRACT This paper investigates how László Nemes’ Sunset (Napszállta 2018), a drama set in Budapest of the early 1910s, gestures to but problematises the pleasures of ‘heritage space’. The film combines the careful assembly of period mise en scène with a countervailing and systematic attenuation of this reconstruction, achieved through tight framing, shallow focus and extreme focalisation on the protagonist Írisz Leiter. This strategy consigns many of the splendours of Belle Époque Budapest to off-screen or out-of-focus space. I explore how Sunset’s deployment and complication of the visual, and narrative, pleasures of the period film engages critically with attitudes towards history and the past; the resulting response to the film among Hungarian reviewers; and the gender politics of the film. The institutionalised gender abuse behind the beautiful façade of the Leiter hat store and its opulent clients parallels contemporary scandals. Like many period films, Sunset is set on the cusp of change, a moment when ‘the present imagines itself to have been born and history forever changed’. But it refuses to be sealed off as a closed history to be either nostalgically enjoyed or smugly judged at a safe distance from the present.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"97 - 108"},"PeriodicalIF":0.2,"publicationDate":"2021-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47843688","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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