Pub Date : 2023-10-11DOI: 10.1080/15551393.2023.2267432
Jonas Harvard, Mats Hyvönen
AbstractVisual climate change communication has seen increased scholarly attention in recent years, with a strong focus on science communication. However, less is known about the producers of climate imagery. The current paper presents results from interviews with 20 photographers engaged in climate change on the challenges they see for climate photography today and the key strategies they use to achieve reach and impact in the digital media environment. Results indicate that practitioners gravitate toward variations of a ‘gateway strategy’, where motives and forms of visual presentation are chosen as gateways to bypass the potential resistance or indifference to climate change messages. The paper proposes a typology of such visual gateway strategies.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Additional informationNotes on contributorsJonas HarvardJonas Harvard is a Senior Lecturer at the Department of Media- and Communication Science, Mid Sweden University and Adjunct Professor in the History of Political Discourse and Communication at the University of Jyväskylä. His research concerns the roles of technology in journalism, media history in the Nordic countries, and the transformation of local news media business in Sweden. E-mail: jonas.harvard@miun.seMats HyvönenMats Hyvönen is a Media and Communications Scholar at Uppsala University and Research Coordinator for the Engaging Vulnerability Research Program. Specializing in media history, he is interested in the vulnerability of the public sphere and how media both feed and resist that vulnerability. Mats is currently conducting research on contemporary and historical links between journalism and academic scholarship.
{"title":"Gateway Visuals: Strategies of Climate Photographers in the Digital Age","authors":"Jonas Harvard, Mats Hyvönen","doi":"10.1080/15551393.2023.2267432","DOIUrl":"https://doi.org/10.1080/15551393.2023.2267432","url":null,"abstract":"AbstractVisual climate change communication has seen increased scholarly attention in recent years, with a strong focus on science communication. However, less is known about the producers of climate imagery. The current paper presents results from interviews with 20 photographers engaged in climate change on the challenges they see for climate photography today and the key strategies they use to achieve reach and impact in the digital media environment. Results indicate that practitioners gravitate toward variations of a ‘gateway strategy’, where motives and forms of visual presentation are chosen as gateways to bypass the potential resistance or indifference to climate change messages. The paper proposes a typology of such visual gateway strategies.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Additional informationNotes on contributorsJonas HarvardJonas Harvard is a Senior Lecturer at the Department of Media- and Communication Science, Mid Sweden University and Adjunct Professor in the History of Political Discourse and Communication at the University of Jyväskylä. His research concerns the roles of technology in journalism, media history in the Nordic countries, and the transformation of local news media business in Sweden. E-mail: jonas.harvard@miun.seMats HyvönenMats Hyvönen is a Media and Communications Scholar at Uppsala University and Research Coordinator for the Engaging Vulnerability Research Program. Specializing in media history, he is interested in the vulnerability of the public sphere and how media both feed and resist that vulnerability. Mats is currently conducting research on contemporary and historical links between journalism and academic scholarship.","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136099636","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 : 2023-10-10DOI: 10.1080/15551393.2023.2267445
Olli Hellmann
Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsOlli HellmannOlli Hellmann is Senior Lecturer in Political Science and International Relations at the University of Waikato, Aotearoa New Zealand. He has published extensively on the role of photography in shaping public understanding of global politics, including in Democratization, Third World Quarterly, Media, War & Conflict, and Cambridge Review of International Affairs. His own photography work (ollihellmann.net) explores the oddities and contradictions of globalization, spanning issues as diverse as Brexit, international mass tourism, and the 19th-century guano industry. E-mail: olli.hellmann@waikato.ac.nz
{"title":"B8: Photographing the Legacies of Colonialism","authors":"Olli Hellmann","doi":"10.1080/15551393.2023.2267445","DOIUrl":"https://doi.org/10.1080/15551393.2023.2267445","url":null,"abstract":"Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsOlli HellmannOlli Hellmann is Senior Lecturer in Political Science and International Relations at the University of Waikato, Aotearoa New Zealand. He has published extensively on the role of photography in shaping public understanding of global politics, including in Democratization, Third World Quarterly, Media, War & Conflict, and Cambridge Review of International Affairs. His own photography work (ollihellmann.net) explores the oddities and contradictions of globalization, spanning issues as diverse as Brexit, international mass tourism, and the 19th-century guano industry. E-mail: olli.hellmann@waikato.ac.nz","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136293033","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 : 2023-10-09DOI: 10.1080/15551393.2023.2267437
Anna E. Lindner
AbstractThe science-fiction Netflix series Sense8 features eight “sensates” across the world who suddenly become telekinetically connected, able to inhabit each other’s bodies. I put forth the term visual interchangeability to explain these cinematographical swaps, when audiences perceive one character temporarily standing in for another. Able to experience each other’s arousal, the sensates partake in transglobal orgies: as bodies of different races interchange with each other, individual sensates’ sexual orientations and preferences are seemingly rendered irrelevant. Praised for its LGBT + representations, and particularly of trans identity, Sense8’s utopic implications suggested by the sensates’ apparent pansexuality and race-blind dissolution of difference is undermined by its essentializing, inaccurate depictions of non-white and -western cultures.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Notes1 While most of the actors are from the same countries as their characters, African sensate Toby Onwumere was born in Nigeria and raised in the United States. In interviews, he speaks with a U.S. American accent, and his UC San Diego actor profile (http://theatre.ucsd.edu/Showcase/Actors/2015/TOnwumere/index.html) lists “West African/Nigerian Pidgin” as a language, which the creators likely assumed approximates a Kenyan accent—although Africans are no doubt able to identify the difference and likely resent this conflation.Additional informationNotes on contributorsAnna E. LindnerAnna E. Lindner (MA, Media, Culture, and Communication, New York University) is a doctoral candidate in the Communication Department at Wayne State University. A critical/cultural media historian, her dissertation focuses on how mediated discourses reflect white supremacy, national/colonial identity, slavery, and resistance enacted by African descendants in mid-nineteenth-century Cuba. Her other research interests include formations of cultural identity, racialized linguistics and education, intersectional feminisms and queer studies, critical whiteness studies, and racial justice activism. E-mail: anna.lindner@wayne.edu
{"title":"Reading <i>Sense8</i> : <i>Visual Interchangeability</i> and Queer Possibility in a “Post-Racial” World","authors":"Anna E. Lindner","doi":"10.1080/15551393.2023.2267437","DOIUrl":"https://doi.org/10.1080/15551393.2023.2267437","url":null,"abstract":"AbstractThe science-fiction Netflix series Sense8 features eight “sensates” across the world who suddenly become telekinetically connected, able to inhabit each other’s bodies. I put forth the term visual interchangeability to explain these cinematographical swaps, when audiences perceive one character temporarily standing in for another. Able to experience each other’s arousal, the sensates partake in transglobal orgies: as bodies of different races interchange with each other, individual sensates’ sexual orientations and preferences are seemingly rendered irrelevant. Praised for its LGBT + representations, and particularly of trans identity, Sense8’s utopic implications suggested by the sensates’ apparent pansexuality and race-blind dissolution of difference is undermined by its essentializing, inaccurate depictions of non-white and -western cultures.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Notes1 While most of the actors are from the same countries as their characters, African sensate Toby Onwumere was born in Nigeria and raised in the United States. In interviews, he speaks with a U.S. American accent, and his UC San Diego actor profile (http://theatre.ucsd.edu/Showcase/Actors/2015/TOnwumere/index.html) lists “West African/Nigerian Pidgin” as a language, which the creators likely assumed approximates a Kenyan accent—although Africans are no doubt able to identify the difference and likely resent this conflation.Additional informationNotes on contributorsAnna E. LindnerAnna E. Lindner (MA, Media, Culture, and Communication, New York University) is a doctoral candidate in the Communication Department at Wayne State University. A critical/cultural media historian, her dissertation focuses on how mediated discourses reflect white supremacy, national/colonial identity, slavery, and resistance enacted by African descendants in mid-nineteenth-century Cuba. Her other research interests include formations of cultural identity, racialized linguistics and education, intersectional feminisms and queer studies, critical whiteness studies, and racial justice activism. E-mail: anna.lindner@wayne.edu","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135093406","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 : 2023-10-09DOI: 10.1080/15551393.2023.2267442
Dimitrinka Atanasova
AbstractEmerging research on the news representation of obesity and Covid-19 has found that obese individuals are overwhelmingly presented in stigmatising ways in news article texts, but the visual representation of obesity and Covid-19 has been understudied – even in the increasingly ubiquitous in the news stock photographs. This study analysed the representation of obesity and Covid-19 in 111 editorial stock photographs from Adobe Stock, Getty Images and Shutterstock using visual content analysis and semantic field analysis. In contrast to past research which has found well over 65% of the analysed photographs to be stigmatising, only slightly over half of the analysed editorial stock photographs were stigmatising. Potentially destigmatising associations of obesity with attractive appearance and positive emotions were also present.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Additional informationNotes on contributorsDimitrinka AtanasovaDr Dimitrinka Atanasova is a Lecturer at the Department of Linguistics and English Language, Lancaster University, drawing on theories and methods from applied linguistics, media & communication studies, and sociology. She researches health and science communication and developments in news journalism (currently, constructive journalism) and is a Founding Member of the British Association for Applied Linguistics Special Interest Group on Health & Science Communication. She has previously worked as a Media Consultant and held research positions at Queen Mary, University of London (School of Languages, Linguistics & Film), University of Sheffield (Information School) and University of Leicester (School of Media, Communication & Sociology). She continues to do occasional media consultancy work for private, public and third sector clients. E-mail: d.atanasova@lancaster.ac.uk
{"title":"Representations of Obesity and COVID-19 in Leading Stock Photography Websites","authors":"Dimitrinka Atanasova","doi":"10.1080/15551393.2023.2267442","DOIUrl":"https://doi.org/10.1080/15551393.2023.2267442","url":null,"abstract":"AbstractEmerging research on the news representation of obesity and Covid-19 has found that obese individuals are overwhelmingly presented in stigmatising ways in news article texts, but the visual representation of obesity and Covid-19 has been understudied – even in the increasingly ubiquitous in the news stock photographs. This study analysed the representation of obesity and Covid-19 in 111 editorial stock photographs from Adobe Stock, Getty Images and Shutterstock using visual content analysis and semantic field analysis. In contrast to past research which has found well over 65% of the analysed photographs to be stigmatising, only slightly over half of the analysed editorial stock photographs were stigmatising. Potentially destigmatising associations of obesity with attractive appearance and positive emotions were also present.DisclaimerAs a service to authors and researchers we are providing this version of an accepted manuscript (AM). Copyediting, typesetting, and review of the resulting proofs will be undertaken on this manuscript before final publication of the Version of Record (VoR). During production and pre-press, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal relate to these versions also. Additional informationNotes on contributorsDimitrinka AtanasovaDr Dimitrinka Atanasova is a Lecturer at the Department of Linguistics and English Language, Lancaster University, drawing on theories and methods from applied linguistics, media & communication studies, and sociology. She researches health and science communication and developments in news journalism (currently, constructive journalism) and is a Founding Member of the British Association for Applied Linguistics Special Interest Group on Health & Science Communication. She has previously worked as a Media Consultant and held research positions at Queen Mary, University of London (School of Languages, Linguistics & Film), University of Sheffield (Information School) and University of Leicester (School of Media, Communication & Sociology). She continues to do occasional media consultancy work for private, public and third sector clients. E-mail: d.atanasova@lancaster.ac.uk","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135093517","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 : 2023-07-03DOI: 10.1080/15551393.2023.2232292
Gizem Melek
This study explores how opposition political candidates strategically use Instagram images for their election campaigns in a competitive authoritarian regime. The article focuses on Turkey’s 2019 mayoral elections and reports findings from 452 Instagram posts by the winning candidates in the three biggest cities (İzmir, Ankara, and İstanbul), all of whom are from the opposition, the Republican People’s Party (CHP). The results from a quantitative content analysis show that all elected mayors mainly applied their traditional media strategies directly to Instagram as part of broadcasting purposes. They rarely extended their campaigning to other media platforms as part of a hybrid campaign strategy. Implications of the role of Instagram in challenging incumbent parties in competitive authoritarian regimes are discussed.
{"title":"Instagramming the Political Image: Visual Campaigning Strategies of Successful Opposition Candidates in Turkey’s 2019 Mayoral Elections","authors":"Gizem Melek","doi":"10.1080/15551393.2023.2232292","DOIUrl":"https://doi.org/10.1080/15551393.2023.2232292","url":null,"abstract":"This study explores how opposition political candidates strategically use Instagram images for their election campaigns in a competitive authoritarian regime. The article focuses on Turkey’s 2019 mayoral elections and reports findings from 452 Instagram posts by the winning candidates in the three biggest cities (İzmir, Ankara, and İstanbul), all of whom are from the opposition, the Republican People’s Party (CHP). The results from a quantitative content analysis show that all elected mayors mainly applied their traditional media strategies directly to Instagram as part of broadcasting purposes. They rarely extended their campaigning to other media platforms as part of a hybrid campaign strategy. Implications of the role of Instagram in challenging incumbent parties in competitive authoritarian regimes are discussed.","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"19 1","pages":"125 - 139"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81744659","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 : 2023-07-03DOI: 10.1080/15551393.2023.2235271
Tim Gleason
P. H. Emerson was a doctor-turned-photographer who quickly gained acclaim in the 1880s, but who turned against his principles in the next decade. Emerson promoted his style of Pictorialism, known as Naturalism, which held that art photographs should be founded on scientific principles and be inspired by nature. Using the historical method, this study examines Emerson’s principles and argues Emerson abandoned his belief in photography as an art form for a variety of reasons, including his display of self-importance. His contribution is in promoting straight photography—unmanipulated, single-negative printing—even if he occasionally violated his own principles.
{"title":"P. H. Emerson and the Experience of Vision","authors":"Tim Gleason","doi":"10.1080/15551393.2023.2235271","DOIUrl":"https://doi.org/10.1080/15551393.2023.2235271","url":null,"abstract":"P. H. Emerson was a doctor-turned-photographer who quickly gained acclaim in the 1880s, but who turned against his principles in the next decade. Emerson promoted his style of Pictorialism, known as Naturalism, which held that art photographs should be founded on scientific principles and be inspired by nature. Using the historical method, this study examines Emerson’s principles and argues Emerson abandoned his belief in photography as an art form for a variety of reasons, including his display of self-importance. His contribution is in promoting straight photography—unmanipulated, single-negative printing—even if he occasionally violated his own principles.","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"68 1","pages":"140 - 154"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86937213","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 : 2023-07-03DOI: 10.1080/15551393.2023.2232295
Ross Taylor
{"title":"Boulder Strong: A Large-Scale Collaborative Community Portrait Archive in the Wake of a Mass Shooting","authors":"Ross Taylor","doi":"10.1080/15551393.2023.2232295","DOIUrl":"https://doi.org/10.1080/15551393.2023.2232295","url":null,"abstract":"","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"14 1","pages":"168 - 191"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79509381","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 : 2023-07-03DOI: 10.1080/15551393.2023.2234789
T. Vardouli
{"title":"Shapes of Imagination: Calculating in Coleridge’s Magical Realm, by George Stiny","authors":"T. Vardouli","doi":"10.1080/15551393.2023.2234789","DOIUrl":"https://doi.org/10.1080/15551393.2023.2234789","url":null,"abstract":"","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"18 1","pages":"192 - 193"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91054765","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 : 2023-07-03DOI: 10.1080/15551393.2023.2232296
Ifeoluwa Awopetu, Innocent Chiluwa
This article examines 25 purposively selected images of the EndSARS protests in Nigeria. The data are subjected to qualitative analysis and analyzed from a multimodal analytic approach. Findings reveal that the task of creating credibility and realities of the protests through images is divided between the verbal and the visual modes. While the visual mode describes the actors, their goals, and the setting of events, the verbal mode serves as the “vocal tool” of the protesters. The interaction of the semiotic elements in these images reveals the demands and frustrations of the EndSARS protesters, and suggests that if the issues of police brutality and injustice are not adequately addressed, the grievances of Nigerians may lead to more violent protests.
{"title":"Resistance in Visual Narratives: A Multimodal CDA of Images of the #EndSARS Protests in Nigeria","authors":"Ifeoluwa Awopetu, Innocent Chiluwa","doi":"10.1080/15551393.2023.2232296","DOIUrl":"https://doi.org/10.1080/15551393.2023.2232296","url":null,"abstract":"This article examines 25 purposively selected images of the EndSARS protests in Nigeria. The data are subjected to qualitative analysis and analyzed from a multimodal analytic approach. Findings reveal that the task of creating credibility and realities of the protests through images is divided between the verbal and the visual modes. While the visual mode describes the actors, their goals, and the setting of events, the verbal mode serves as the “vocal tool” of the protesters. The interaction of the semiotic elements in these images reveals the demands and frustrations of the EndSARS protesters, and suggests that if the issues of police brutality and injustice are not adequately addressed, the grievances of Nigerians may lead to more violent protests.","PeriodicalId":43914,"journal":{"name":"Visual Communication Quarterly","volume":"21 1","pages":"155 - 167"},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75299219","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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