Pub Date : 2021-02-13DOI: 10.5406/JFILMVIDEO.73.1.0018
L. Soberon
{"title":"The Ultimate Ride: A Comparative Narrative Analysis of Action Sequences in 1980s and Contemporary Hollywood Action Cinema","authors":"L. Soberon","doi":"10.5406/JFILMVIDEO.73.1.0018","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0018","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"18 - 32"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42467036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-13DOI: 10.5406/JFILMVIDEO.73.1.0048
D. Dubois
{"title":"Cruising the Hyper-Real Highway: Edgar Wright's Baby Driver","authors":"D. Dubois","doi":"10.5406/JFILMVIDEO.73.1.0048","DOIUrl":"https://doi.org/10.5406/JFILMVIDEO.73.1.0048","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"48 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.5406/jfilmvideo.73.2.bm
{"title":"Back Matter","authors":"","doi":"10.5406/jfilmvideo.73.2.bm","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.2.bm","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.5406/jfilmvideo.73.1.bm
{"title":"Back Matter","authors":"","doi":"10.5406/jfilmvideo.73.1.bm","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.1.bm","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70769099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-07DOI: 10.5406/jfilmvideo.72.3-4.0102
Alexander M. Thimons
the three live network broadcasts of atomic bomb tests in the 1950s were signal events in the early history of American television. They aired on multiple networks simultaneously, drawing lavish coverage in newspapers nationwide and the attention of some of the country’s most prominent broadcast journalists. One report estimated that 35 million people watched the first test, around midday on Tuesday, 22 April 1952 (Fehner and Gosling 3)—less than a year after the completion of AT&T’s transcontinental coaxial cable enabling coast-to-coast live broadcasting and at a time when many cities between the coasts were still not linked into the national network (Sterne 516). NBC and CBS distributed coverage of the detonation from the Yucca Flats near Las Vegas using a microwave relay system built for the purpose by Klaus Landsberg, an engineer at the unaffiliated Los Angeles station KTLA. Las Vegas itself did not yet have a television station, and the FCC’s freeze on station licenses had been lifted only eight days prior. Television was still growing into the nationwide cultural force it would eventually become over the course of the decade, a process in which this program, along with two more that followed, played an important role. The technologically complex broadcasts were expected to be convincing displays of the medium’s power. The tests were also important to the American military’s plans to publicize the power of, and its control over, nuclear weapons. Alongside pamphlets, films, slideshows, and other media, these broadcasts served to justify the military’s nuclear stockpiles via a publicity strategy of conventionalization, in which nuclear weapons were framed publicly as simply larger versions of conventional ones. By this logic, atomic and eventually thermonuclear (hydrogen) weapons were immensely powerful, but also just as manageable as conventional weapons were assumed to be, enabling the government to reconcile the weapons’ force with the American strategy of deterrence. As Guy Oakes puts it, “[a]lthough atomic bombs might be quantitatively more destructive than the conventional bombs used in World War II, qualitatively they achieved essentially the same results. This was the conventionalization argument” (52). Should a nuclear attack by the Soviets occur, so the logic went, the United States would still be able to respond with force of its own. For both the television industry and the Atomic Energy Commission (AEC) and related agencies, therefore, the broadcasts were important as demonstrations of technological control. Ideally, from the planners’ perspectives, the detonations and their television coverage would be mutually reinforcing, each proceeding exactly as anticipated by television engineers and representatives of the atomic agencies alike and each serving as sources of reliable information. Put simply, things did not go according to plan. Onscreen, the detonations were barely Blurred Visions: Atomic Testing, Live Television, and Techn
{"title":"Blurred Visions: Atomic Testing, Live Television, and Technological Failure","authors":"Alexander M. Thimons","doi":"10.5406/jfilmvideo.72.3-4.0102","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0102","url":null,"abstract":"the three live network broadcasts of atomic bomb tests in the 1950s were signal events in the early history of American television. They aired on multiple networks simultaneously, drawing lavish coverage in newspapers nationwide and the attention of some of the country’s most prominent broadcast journalists. One report estimated that 35 million people watched the first test, around midday on Tuesday, 22 April 1952 (Fehner and Gosling 3)—less than a year after the completion of AT&T’s transcontinental coaxial cable enabling coast-to-coast live broadcasting and at a time when many cities between the coasts were still not linked into the national network (Sterne 516). NBC and CBS distributed coverage of the detonation from the Yucca Flats near Las Vegas using a microwave relay system built for the purpose by Klaus Landsberg, an engineer at the unaffiliated Los Angeles station KTLA. Las Vegas itself did not yet have a television station, and the FCC’s freeze on station licenses had been lifted only eight days prior. Television was still growing into the nationwide cultural force it would eventually become over the course of the decade, a process in which this program, along with two more that followed, played an important role. The technologically complex broadcasts were expected to be convincing displays of the medium’s power. The tests were also important to the American military’s plans to publicize the power of, and its control over, nuclear weapons. Alongside pamphlets, films, slideshows, and other media, these broadcasts served to justify the military’s nuclear stockpiles via a publicity strategy of conventionalization, in which nuclear weapons were framed publicly as simply larger versions of conventional ones. By this logic, atomic and eventually thermonuclear (hydrogen) weapons were immensely powerful, but also just as manageable as conventional weapons were assumed to be, enabling the government to reconcile the weapons’ force with the American strategy of deterrence. As Guy Oakes puts it, “[a]lthough atomic bombs might be quantitatively more destructive than the conventional bombs used in World War II, qualitatively they achieved essentially the same results. This was the conventionalization argument” (52). Should a nuclear attack by the Soviets occur, so the logic went, the United States would still be able to respond with force of its own. For both the television industry and the Atomic Energy Commission (AEC) and related agencies, therefore, the broadcasts were important as demonstrations of technological control. Ideally, from the planners’ perspectives, the detonations and their television coverage would be mutually reinforcing, each proceeding exactly as anticipated by television engineers and representatives of the atomic agencies alike and each serving as sources of reliable information. Put simply, things did not go according to plan. Onscreen, the detonations were barely Blurred Visions: Atomic Testing, Live Television, and Techn","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"102 - 118"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43076460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-07DOI: 10.5406/jfilmvideo.72.3-4.0073
Christian Quendler, D. Winkler
the renewed cinematic interest in mountains reveals not only the transformative virtue of mountains as mediators of new experiences, ranging from rituals of spiritual purification to consumerist tourist culture, but also the fluid nature of mountains as historical agents. Rather than representing fixed coordinates on geographical, political, and historical maps, mountains can themselves be approached as reflexive objects. Following W. J. T. Mitchell’s conception of landscape as “dynamic medium” (2), cinematic mountainscapes can be seen as stages where sociocultural, geopolitical, ethnic, and gender identities are negotiated along with cinematic forms. Recent film productions such as Philipp Stölzl’s Nordwand [North Face] (2008), Quentin Tarantino’s Inglourious Basterds (2009), Ruben Östlund’s Turist [Force Majeure] (2014), and Andreas Prochaska’s Das finstere Tal [The Dark Valley] (2014) have revisited mountains as historical sites of cinematic self-reflection to renegotiate notions of gender, genre, tourism, and environmentalism in transnational and global contexts. This article complements this list by examining how mountains and mountain films come into play in addressing the very question of auteurism and its historicity.1 Drawing on Eric Rentschler’s seminal essay “Mountains and Modernity,” we suggest viewing Olivier Assayas’s Sils Maria [Clouds of Sils Maria] (2014) and Paolo Sorrentino’s La giovinezza [Youth] (2015), both European coproductions (of France, Germany, and Switzerland and Great Britain, Italy, France, and Switzerland, respectively), as mountainous meditations on aging that draw on mountains and the classical mountain film in order to relocate auteur cinema in a transnational context. We will place aging, auteurism, and mountains in triangular relations––not unlike the love triangles frequently found in melodramatic mountain movies. With our discussion set against an established cultural frame that associates mountains with old age, we will focus on the relationship between auteurism and mountains, on the one hand, and the relationship between auteurism and aging, on the other. While the former calls for an exploration of the aesthetic traditions and genres that have shaped independent cinema, the latter addresses the shift in auteurism from an artistic to a commercial category in the historical development of auteur theory. Although commercial aspects of auteurism have received much attention in recent scholarship (e.g., Corrigan, Cinema without Walls; Buckland), they are still largely viewed in disjunction from the artistic definition of auteurism as a filmmaker’s personalized vision. Both Assayas’s Clouds of Sils Maria and Sorrentino’s Youth pay tribute to this disjunction through surprising and insightful invocations of the classical Bergfilm, a genre that is generally seen in national German and Austrian contexts christian quendler is an associate professor in the Department of American Studies at the University of Innsbru
对山脉重新燃起的电影兴趣不仅揭示了山脉作为新体验媒介的变革性美德，从精神净化仪式到消费主义旅游文化，还揭示了作为历史媒介的山脉的流动性。与在地理、政治和历史地图上表示固定坐标不同，山脉本身可以作为反射性物体来接近。根据W·J·T·米切尔将景观视为“动态媒介”的概念（2），电影山景可以被视为社会文化、地缘政治、种族和性别认同与电影形式一起协商的阶段。最近的电影作品，如菲利普·斯特泽尔的《北方的面孔》（2008年）、昆汀·塔伦蒂诺的《无耻混蛋》（2009年）、鲁本·奥斯特伦德的《不可抗力》（2014年）和安德烈亚斯·普罗查斯卡的《黑暗谷》，以及跨国和全球环境保护主义。这篇文章通过研究山脉和山脉电影如何在解决导演主义及其历史性问题方面发挥作用来补充这一列表。1根据埃里克·伦施勒的开创性文章《山脉与现代性》，我们建议观看奥利维尔·阿萨亚斯的《西尔斯玛利亚的云》（2014）和保罗·索伦蒂诺的《青年》（2015），两部欧洲合拍电影（分别是法国、德国和瑞士以及英国、意大利、法国和瑞士），都是利用山脉和古典山脉电影对衰老进行的山区冥想，目的是在跨国背景下重新定位导演电影。我们将把衰老、导演主义和山脉置于三角关系中——这与情节剧山区电影中常见的三角恋没有什么不同。随着我们的讨论建立在一个将山脉与老年联系在一起的既定文化框架下，我们将一方面关注导演主义与山脉之间的关系，另一方面关注演员主义与衰老之间的关系。前者呼吁探索塑造独立电影的美学传统和流派，而后者则致力于在导演理论的历史发展中，导演主义从艺术范畴向商业范畴的转变。尽管导演主义的商业方面在最近的学术界受到了很大的关注（例如，Corrigan，Cinema without Walls；Buckland），但它们在很大程度上仍然被视为与导演主义作为电影制作人个性化视觉的艺术定义脱节。Assayas的《西尔斯玛利亚的云》和Sorrentino的《青春》都通过对经典伯格电影的令人惊讶和深刻的引用来表达对这种脱节的敬意。伯格电影是一种通常在德国和奥地利国家背景下出现的类型。christian quendler是奥地利因斯布鲁克大学美国研究系的副教授。丹尼尔·温克勒是奥地利维也纳大学浪漫研究系的助理教授。衰老、自闭症和伯格电影：奥利维尔·阿萨亚斯的《西尔斯玛利亚》/《西尔斯玛丽亚的云》（2014年）和保罗·索伦蒂诺的《拉焦维涅扎》/《青春》（2015年）
{"title":"Aging, Auteurism, and the Bergfilm: Olivier Assayas's Sils Maria/Clouds of Sils Maria (2014) and Paolo Sorrentino's La giovinezza/Youth (2015)","authors":"Christian Quendler, D. Winkler","doi":"10.5406/jfilmvideo.72.3-4.0073","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0073","url":null,"abstract":"the renewed cinematic interest in mountains reveals not only the transformative virtue of mountains as mediators of new experiences, ranging from rituals of spiritual purification to consumerist tourist culture, but also the fluid nature of mountains as historical agents. Rather than representing fixed coordinates on geographical, political, and historical maps, mountains can themselves be approached as reflexive objects. Following W. J. T. Mitchell’s conception of landscape as “dynamic medium” (2), cinematic mountainscapes can be seen as stages where sociocultural, geopolitical, ethnic, and gender identities are negotiated along with cinematic forms. Recent film productions such as Philipp Stölzl’s Nordwand [North Face] (2008), Quentin Tarantino’s Inglourious Basterds (2009), Ruben Östlund’s Turist [Force Majeure] (2014), and Andreas Prochaska’s Das finstere Tal [The Dark Valley] (2014) have revisited mountains as historical sites of cinematic self-reflection to renegotiate notions of gender, genre, tourism, and environmentalism in transnational and global contexts. This article complements this list by examining how mountains and mountain films come into play in addressing the very question of auteurism and its historicity.1 Drawing on Eric Rentschler’s seminal essay “Mountains and Modernity,” we suggest viewing Olivier Assayas’s Sils Maria [Clouds of Sils Maria] (2014) and Paolo Sorrentino’s La giovinezza [Youth] (2015), both European coproductions (of France, Germany, and Switzerland and Great Britain, Italy, France, and Switzerland, respectively), as mountainous meditations on aging that draw on mountains and the classical mountain film in order to relocate auteur cinema in a transnational context. We will place aging, auteurism, and mountains in triangular relations––not unlike the love triangles frequently found in melodramatic mountain movies. With our discussion set against an established cultural frame that associates mountains with old age, we will focus on the relationship between auteurism and mountains, on the one hand, and the relationship between auteurism and aging, on the other. While the former calls for an exploration of the aesthetic traditions and genres that have shaped independent cinema, the latter addresses the shift in auteurism from an artistic to a commercial category in the historical development of auteur theory. Although commercial aspects of auteurism have received much attention in recent scholarship (e.g., Corrigan, Cinema without Walls; Buckland), they are still largely viewed in disjunction from the artistic definition of auteurism as a filmmaker’s personalized vision. Both Assayas’s Clouds of Sils Maria and Sorrentino’s Youth pay tribute to this disjunction through surprising and insightful invocations of the classical Bergfilm, a genre that is generally seen in national German and Austrian contexts christian quendler is an associate professor in the Department of American Studies at the University of Innsbru","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"73 - 89"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44749778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-07DOI: 10.5406/jfilmvideo.72.3-4.0090
Hisup Shin
{"title":"Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin's The Wailing","authors":"Hisup Shin","doi":"10.5406/jfilmvideo.72.3-4.0090","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0090","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"101 - 90"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42039263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-07DOI: 10.5406/jfilmvideo.72.3-4.0003
Daniel Johnson
tension of being “between” different aspects of film culture, aesthetics, and technology offers a productive space to renew our investigation into film dubbing. The present article will focus on the dubbing of Hollywood films for Japanese television and video, with a particular emphasis on films from the 1980s and early ’90s. This period saw the arrival and subsequent explosion in popularity of home video, but also a realignment of how films were being licensed for television broadcast. These factors led to a proliferation of film dubbing in Japan, which in turn fed into the trend of voice actors (seiyū) becoming figures of cult celebrity. The practice of using the same voice actor to dub a Hollywood star across a large body of films (known as “fixing,” or fikkusu) also contributed to this trend by allowing for composite forms of personality, celebrity, and screen performance to develop. Following those points, this article will approach dubbing as a form of transcultural and transmedia adaptation. I am using adaptation as a companion concept to translation in order to consider how film stars are made to more easily “fit” into local idioms concerning performance style, genre, and identity, both through the aforementioned generative relationship between onscreen body and audible voice and through the intertextual resonance generated by how voice actors are repeatedly paired with Hollywood stars across films. Furthermore, by emphasizing transmedia adaptation as part of the same analysis, I also aim to address some of the ways that dubbing adapts Hollywood cinema to Japanese television and video as dubbing has commonly been understood as an issue of translation and exhibition practice in both film studies and audiovisual translation theory.1 Topics such as the differences between dubbing and subtitling, issues with image/sound synchronization, and the spatial location of the voice in relation to the moving image have all been part of this approach. However, recent scholarship by authors such as Charlotte Bosseaux and Tom Whittaker has connected dubbing to questions of screen performance and film stardom, often by attending to locally specific characteristics of national and regional media cultures. This revitalization of interest in dubbing has developed alongside the emergence of transnational film studies and scholarship on other forms of voice work in cinema, such as playback singing and postsynchronization. As such, if dubbing presents a complication of film performance that exists “between” the body we see onscreen and the voice we hear, it is also something that travels through the spaces between film industries and audiences from around the world. Furthermore, dubbing is also frequently used in the adaptation of film for television and video platforms, suggesting a circulation between different types of screens. With all of that in mind, the
{"title":"The Fix Is In: Dubbing as Transcultural and Transmedia Adaptation","authors":"Daniel Johnson","doi":"10.5406/jfilmvideo.72.3-4.0003","DOIUrl":"https://doi.org/10.5406/jfilmvideo.72.3-4.0003","url":null,"abstract":"tension of being “between” different aspects of film culture, aesthetics, and technology offers a productive space to renew our investigation into film dubbing. The present article will focus on the dubbing of Hollywood films for Japanese television and video, with a particular emphasis on films from the 1980s and early ’90s. This period saw the arrival and subsequent explosion in popularity of home video, but also a realignment of how films were being licensed for television broadcast. These factors led to a proliferation of film dubbing in Japan, which in turn fed into the trend of voice actors (seiyū) becoming figures of cult celebrity. The practice of using the same voice actor to dub a Hollywood star across a large body of films (known as “fixing,” or fikkusu) also contributed to this trend by allowing for composite forms of personality, celebrity, and screen performance to develop. Following those points, this article will approach dubbing as a form of transcultural and transmedia adaptation. I am using adaptation as a companion concept to translation in order to consider how film stars are made to more easily “fit” into local idioms concerning performance style, genre, and identity, both through the aforementioned generative relationship between onscreen body and audible voice and through the intertextual resonance generated by how voice actors are repeatedly paired with Hollywood stars across films. Furthermore, by emphasizing transmedia adaptation as part of the same analysis, I also aim to address some of the ways that dubbing adapts Hollywood cinema to Japanese television and video as dubbing has commonly been understood as an issue of translation and exhibition practice in both film studies and audiovisual translation theory.1 Topics such as the differences between dubbing and subtitling, issues with image/sound synchronization, and the spatial location of the voice in relation to the moving image have all been part of this approach. However, recent scholarship by authors such as Charlotte Bosseaux and Tom Whittaker has connected dubbing to questions of screen performance and film stardom, often by attending to locally specific characteristics of national and regional media cultures. This revitalization of interest in dubbing has developed alongside the emergence of transnational film studies and scholarship on other forms of voice work in cinema, such as playback singing and postsynchronization. As such, if dubbing presents a complication of film performance that exists “between” the body we see onscreen and the voice we hear, it is also something that travels through the spaces between film industries and audiences from around the world. Furthermore, dubbing is also frequently used in the adaptation of film for television and video platforms, suggesting a circulation between different types of screens. With all of that in mind, the","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"72 1","pages":"15 - 3"},"PeriodicalIF":0.1,"publicationDate":"2020-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46458995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","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：