Pub Date : 2023-07-03DOI: 10.1080/17400309.2023.2239517
M. Gibson
{"title":"Hollywood’s embassies: how movie theaters projected American power around the world","authors":"M. Gibson","doi":"10.1080/17400309.2023.2239517","DOIUrl":"https://doi.org/10.1080/17400309.2023.2239517","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"591 - 595"},"PeriodicalIF":0.8,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45318182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/17400309.2023.2239514
Harrison Whitaker
{"title":"Perplexing plots: popular storytelling and the poetics of murder","authors":"Harrison Whitaker","doi":"10.1080/17400309.2023.2239514","DOIUrl":"https://doi.org/10.1080/17400309.2023.2239514","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"587 - 590"},"PeriodicalIF":0.8,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45146142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-12DOI: 10.1080/17400309.2023.2220635
A. Vesey
ABSTRACT This article uses textual and discourse analysis to examine the interpersonal dynamic between Rob and Cherise in High Fidelity (Hulu 2020), two Black female characters at the center of a gender- and race-flipped TV remake of Nick Hornby’s (1995) novel and Stephen Frears’s (2000) film. It centers Cherise in the frame by examining how she opposes her secondary status as a supporting character with her undervalued critical and creative acumen, traits she shares with her white male literary and cinematic counterparts but activates differently as a Black woman. It situates Cherise and actress Da’Vine Joy Randolph’s interpretation of the source material through the practice of cover singing. Though covers are often dismissed as unoriginal, reinterpretation is particularly useful for Black female performers who transform other peoples’ songs as a tactic against artistic marginalization, one that allows them to critique institutional racism and sexism. This acuity implicates the media industries’ limited imagination for Black female characters and the performers who bring them to life. Thus, Cherise and Randolph reveal the work ahead to bring Black female characters into focus by embellishing the margins of a story and challenging an adaptation process that was not designed to center them.
{"title":"‘Have you got any soul?’: reinterpreting High Fidelity’s relationship to Black cultural production","authors":"A. Vesey","doi":"10.1080/17400309.2023.2220635","DOIUrl":"https://doi.org/10.1080/17400309.2023.2220635","url":null,"abstract":"ABSTRACT This article uses textual and discourse analysis to examine the interpersonal dynamic between Rob and Cherise in High Fidelity (Hulu 2020), two Black female characters at the center of a gender- and race-flipped TV remake of Nick Hornby’s (1995) novel and Stephen Frears’s (2000) film. It centers Cherise in the frame by examining how she opposes her secondary status as a supporting character with her undervalued critical and creative acumen, traits she shares with her white male literary and cinematic counterparts but activates differently as a Black woman. It situates Cherise and actress Da’Vine Joy Randolph’s interpretation of the source material through the practice of cover singing. Though covers are often dismissed as unoriginal, reinterpretation is particularly useful for Black female performers who transform other peoples’ songs as a tactic against artistic marginalization, one that allows them to critique institutional racism and sexism. This acuity implicates the media industries’ limited imagination for Black female characters and the performers who bring them to life. Thus, Cherise and Randolph reveal the work ahead to bring Black female characters into focus by embellishing the margins of a story and challenging an adaptation process that was not designed to center them.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.1080/17400309.2023.2218784
Katarzyna Paszkiewicz
ABSTRACT This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist cinema or the phenomenological representations of female experience. Situating Fish Tank within the broader framework of the cinema of precarity helps articulate a position from which to problematise the overemphasis on movement in critical writings on the film – which, as I will discuss, is also predominant in both affect theory and film phenomenology. I argue that with its simultaneous focus on movement and impasse, realised through framing and composition of the shot, camera movement, and repetition of visual tropes that convey confinement, Fish Tank is able to capture and aesthetically re-enact the impact of neoliberalism, while simultaneously paying attention to class and gendered styles of bodily adjustment to crisis ordinariness. I conclude that Berlant’s critical apparatus illuminates the formal and affective complexity of Fish Tank in new ways, and creates space to address larger questions of affect, aesthetics, and the profilmic body.
{"title":"The aesthetics of impasse and the affective rhythms of survival: Andrea Arnold’s Fish Tank as cinema of precarity","authors":"Katarzyna Paszkiewicz","doi":"10.1080/17400309.2023.2218784","DOIUrl":"https://doi.org/10.1080/17400309.2023.2218784","url":null,"abstract":"ABSTRACT This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist cinema or the phenomenological representations of female experience. Situating Fish Tank within the broader framework of the cinema of precarity helps articulate a position from which to problematise the overemphasis on movement in critical writings on the film – which, as I will discuss, is also predominant in both affect theory and film phenomenology. I argue that with its simultaneous focus on movement and impasse, realised through framing and composition of the shot, camera movement, and repetition of visual tropes that convey confinement, Fish Tank is able to capture and aesthetically re-enact the impact of neoliberalism, while simultaneously paying attention to class and gendered styles of bodily adjustment to crisis ordinariness. I conclude that Berlant’s critical apparatus illuminates the formal and affective complexity of Fish Tank in new ways, and creates space to address larger questions of affect, aesthetics, and the profilmic body.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"375 - 401"},"PeriodicalIF":0.8,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41889083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-04DOI: 10.1080/17400309.2023.2216101
C. Bartlett
ABSTRACT This article re-examines Rod Serling’s career as he transitioned from writing live anthology teleplays to his famous series, The Twilight Zone (1959–1964), in service of investigating the changing definitions of authorship as the television industry changed. It does so in order to show that the techniques many critics agree Serling used to subvert corporate sponsors may have been rooted in pragmatic compromise engendered by the need to remain working within the shifting world of TV. These techniques include using science fiction and fantasy on television and becoming a writer-producer and the face of The Twilight Zone. Serling’s transition to science fiction and fantasy, this article argues, could also be seen as a retreat from early TV’s dominant mode of storytelling: social realism. His becoming the face of The Twilight Zone may have been a way to assuage producers’ fears in supporting another anthology series without a consistent cast. This leads to the conflation of Serling the writer with Serling the salesman. Ultimately, these compromises result in the blurring of the line between commercial and series, as well as between writer and salesman.
{"title":"‘This I rebel against’: television advertising, Rod Serling’s The Twilight Zone, and a changing industry","authors":"C. Bartlett","doi":"10.1080/17400309.2023.2216101","DOIUrl":"https://doi.org/10.1080/17400309.2023.2216101","url":null,"abstract":"ABSTRACT This article re-examines Rod Serling’s career as he transitioned from writing live anthology teleplays to his famous series, The Twilight Zone (1959–1964), in service of investigating the changing definitions of authorship as the television industry changed. It does so in order to show that the techniques many critics agree Serling used to subvert corporate sponsors may have been rooted in pragmatic compromise engendered by the need to remain working within the shifting world of TV. These techniques include using science fiction and fantasy on television and becoming a writer-producer and the face of The Twilight Zone. Serling’s transition to science fiction and fantasy, this article argues, could also be seen as a retreat from early TV’s dominant mode of storytelling: social realism. His becoming the face of The Twilight Zone may have been a way to assuage producers’ fears in supporting another anthology series without a consistent cast. This leads to the conflation of Serling the writer with Serling the salesman. Ultimately, these compromises result in the blurring of the line between commercial and series, as well as between writer and salesman.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"505 - 526"},"PeriodicalIF":0.8,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41923811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-30DOI: 10.1080/17400309.2023.2207439
Angie Fazekas
Published in New Review of Film and Television Studies (Vol. 21, No. 2, 2023)
发表于《新影视研究评论》（2023年第21卷第2期）
{"title":"A queer way of feeling: girl fans and personal archives of early Hollywood","authors":"Angie Fazekas","doi":"10.1080/17400309.2023.2207439","DOIUrl":"https://doi.org/10.1080/17400309.2023.2207439","url":null,"abstract":"Published in New Review of Film and Television Studies (Vol. 21, No. 2, 2023)","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"6 5","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-26DOI: 10.1080/17400309.2023.2207425
Madeleine Collier
ABSTRACT It is the beginning of the new millennium. Globalization is picking up the pace, and Marxist media theorists warn about affective and ‘immaterial’ modes of extraction, as well as the rise of the attention economy. It is within this web of post-Fordist anxieties and chameleonic, flexible mechanisms of control that Thomas Elsaesser first charts the rise of the mind-game phenomenon, in his 2009 article ‘The Mind-Game Film’. Elsaesser and his successors perceptively trace the mind-game film back to a range of global conditions and technological innovations which marked the passage from the twentieth to twenty-first centuries, from interactive VCR and DVD technology to confrontations with post-colonial Others. However, little-to-no mind-game scholarship thus far has centered the rise of Web 2.0 and the concurrent privatization of the Internet; furthermore, with the obvious exception of the Matrix trilogy, the mind-bending hacker films of the 1980s and 1990s (e.g. WarGames, Sneakers, The Net) have been largely overlooked as mind-game and mind-game-adjacent films. Accordingly, this paper examines whether and how the hacker film might be folded into the broader field of mind-game scholarship.
{"title":"Black box universe: the mind-game phenomenon, the hacker film, and the new millennium","authors":"Madeleine Collier","doi":"10.1080/17400309.2023.2207425","DOIUrl":"https://doi.org/10.1080/17400309.2023.2207425","url":null,"abstract":"ABSTRACT It is the beginning of the new millennium. Globalization is picking up the pace, and Marxist media theorists warn about affective and ‘immaterial’ modes of extraction, as well as the rise of the attention economy. It is within this web of post-Fordist anxieties and chameleonic, flexible mechanisms of control that Thomas Elsaesser first charts the rise of the mind-game phenomenon, in his 2009 article ‘The Mind-Game Film’. Elsaesser and his successors perceptively trace the mind-game film back to a range of global conditions and technological innovations which marked the passage from the twentieth to twenty-first centuries, from interactive VCR and DVD technology to confrontations with post-colonial Others. However, little-to-no mind-game scholarship thus far has centered the rise of Web 2.0 and the concurrent privatization of the Internet; furthermore, with the obvious exception of the Matrix trilogy, the mind-bending hacker films of the 1980s and 1990s (e.g. WarGames, Sneakers, The Net) have been largely overlooked as mind-game and mind-game-adjacent films. Accordingly, this paper examines whether and how the hacker film might be folded into the broader field of mind-game scholarship.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"544 - 566"},"PeriodicalIF":0.8,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43019675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-25DOI: 10.1080/17400309.2023.2214052
Brandon West
ABSTRACT Werner Herzog avers that cinema reveals a truth beyond mere fact, a truth he calls ‘ecstatic truth’. The film that offers the clearest view of this conception, the mockumentary Incident at Loch Ness (2004), remains understudied and obscure. In Incident, Herzog plays a fictionalized version of himself who is making a documentary about the Loch Ness monster. This fictional version of Herzog shares the real Herzog’s filmmaking philosophy, a philosophy Incident lays bare for study: namely, Incident reveals how the pursuit of ecstatic truth takes us to the limits of human understanding. While Incident helps us explore the concept of ecstatic truth, I argue it also helps us understand much of Herzog’s oeuvre, including 2005’s Grizzly Man. In this paper, therefore, I analyze ecstatic truth as presented in Incident and apply that understanding to Grizzly Man and its controversial tape scene. Examining said scene through the lens of the ecstatic truth will, I argue, not only garner us fuller insight into Herzog’s films, but will also shed light on the effects of Herzog’s controversial choice to not play the tape of Timothy Treadwell’s death in Grizzly Man.
{"title":"Murky waters: Incident at Loch Ness, Grizzly Man, and Herzogian notions of truth","authors":"Brandon West","doi":"10.1080/17400309.2023.2214052","DOIUrl":"https://doi.org/10.1080/17400309.2023.2214052","url":null,"abstract":"ABSTRACT Werner Herzog avers that cinema reveals a truth beyond mere fact, a truth he calls ‘ecstatic truth’. The film that offers the clearest view of this conception, the mockumentary Incident at Loch Ness (2004), remains understudied and obscure. In Incident, Herzog plays a fictionalized version of himself who is making a documentary about the Loch Ness monster. This fictional version of Herzog shares the real Herzog’s filmmaking philosophy, a philosophy Incident lays bare for study: namely, Incident reveals how the pursuit of ecstatic truth takes us to the limits of human understanding. While Incident helps us explore the concept of ecstatic truth, I argue it also helps us understand much of Herzog’s oeuvre, including 2005’s Grizzly Man. In this paper, therefore, I analyze ecstatic truth as presented in Incident and apply that understanding to Grizzly Man and its controversial tape scene. Examining said scene through the lens of the ecstatic truth will, I argue, not only garner us fuller insight into Herzog’s films, but will also shed light on the effects of Herzog’s controversial choice to not play the tape of Timothy Treadwell’s death in Grizzly Man.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"32 12","pages":"567 - 586"},"PeriodicalIF":0.8,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41298164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2196782
L. Herold
ABSTRACT This article assesses the significance of the Gay Cable Network (GCN), a production company that aired a dozen shows on public access cable television made by and for LGBTQ New Yorkers. Drawing upon archival research and interviews with producers, hosts, and assistants at GCN, I argue that LGBTQ producers experience both transformational opportunities for political engagement as well as precarity, frustration, and loss through public access cable television production. I evaluate the social experience of television production to analyze what I am calling affective production value: a metric that establishes how community media production generates a range of powerful emotional experiences for its producers. I examine the daily experience of queer television production through GCN founder Lou Maletta’s tireless efforts to produce and distribute LGBTQ programming for more than twenty years as well as the continuing efforts of his contemporaries on Gay USA, an LGBTQ news program that still airs weekly. Examining cable access shows in terms of affective production value allows scholars to decenter normative standards of production quality in order to understand how local production generates meaning for its producers, offering us the opportunity to explore the personal and cultural impact of community television production.
{"title":"Affective production value on queer community television: a case study of the Gay Cable Network and Gay USA","authors":"L. Herold","doi":"10.1080/17400309.2023.2196782","DOIUrl":"https://doi.org/10.1080/17400309.2023.2196782","url":null,"abstract":"ABSTRACT This article assesses the significance of the Gay Cable Network (GCN), a production company that aired a dozen shows on public access cable television made by and for LGBTQ New Yorkers. Drawing upon archival research and interviews with producers, hosts, and assistants at GCN, I argue that LGBTQ producers experience both transformational opportunities for political engagement as well as precarity, frustration, and loss through public access cable television production. I evaluate the social experience of television production to analyze what I am calling affective production value: a metric that establishes how community media production generates a range of powerful emotional experiences for its producers. I examine the daily experience of queer television production through GCN founder Lou Maletta’s tireless efforts to produce and distribute LGBTQ programming for more than twenty years as well as the continuing efforts of his contemporaries on Gay USA, an LGBTQ news program that still airs weekly. Examining cable access shows in terms of affective production value allows scholars to decenter normative standards of production quality in order to understand how local production generates meaning for its producers, offering us the opportunity to explore the personal and cultural impact of community television production.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"292 - 315"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45182617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2196221
Alex Zivkovic
ABSTRACT This article examines representations of cats across various media in Cat People (Jacques Tourneur, 1942) and its remake (Paul Schrader, 1982). I reorient the scholarship of these films towards issues raised by animal studies: asking what the films’ investigations into animal representations might offer for understanding depictions of women, monsters, and interspecies intimacy across different media. I argue that the two horror films repeatedly expose the inability of static representations like statues, paintings, or photographs to fully ‘capture’ animals or animality. Instead, animal affects are conveyed through shadows, montage, sexual activity, and corporeal violence. Since the cat women protagonists turn into panthers when they feel strong emotions or have sex, this concern with representing animality is intimately tied with representing sexuality. By intertwining these issues, the films suggest that queer wildness is a characteristic that transcends animals, people, and even bodies. In particular, the 1982 film embraces the posthumanist implications of this wildness by concluding with a scene of interspecies intimacy that evokes calls for queer ecological entanglements beyond visual mediation.
{"title":"“It’s not really a cat”: art, media, and queer wildness in Cat People (1942, 1982)","authors":"Alex Zivkovic","doi":"10.1080/17400309.2023.2196221","DOIUrl":"https://doi.org/10.1080/17400309.2023.2196221","url":null,"abstract":"ABSTRACT This article examines representations of cats across various media in Cat People (Jacques Tourneur, 1942) and its remake (Paul Schrader, 1982). I reorient the scholarship of these films towards issues raised by animal studies: asking what the films’ investigations into animal representations might offer for understanding depictions of women, monsters, and interspecies intimacy across different media. I argue that the two horror films repeatedly expose the inability of static representations like statues, paintings, or photographs to fully ‘capture’ animals or animality. Instead, animal affects are conveyed through shadows, montage, sexual activity, and corporeal violence. Since the cat women protagonists turn into panthers when they feel strong emotions or have sex, this concern with representing animality is intimately tied with representing sexuality. By intertwining these issues, the films suggest that queer wildness is a characteristic that transcends animals, people, and even bodies. In particular, the 1982 film embraces the posthumanist implications of this wildness by concluding with a scene of interspecies intimacy that evokes calls for queer ecological entanglements beyond visual mediation.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"236 - 266"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49367030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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