Pub Date : 2022-01-02DOI: 10.1080/01956051.2021.1975625
J. Hodge
ABSTRACT This article argues that MGM’s 1939 classic The Wizard of Oz allegorizes both cultural and political responses to teen pregnancy in the 1930s, a decade which not only saw other movies address similar woman’s rights issues, but also saw legislation which eased restrictions on abortion. Part of the film’s universal appeal is its ability to represent unmarried, pregnant women from all economic brackets as well as provide a “choice” of whether to abandon or maintain what the movie directly identifies as “childhood,” or one’s “inner child,” but which seems to represent what could more accurately be called a “child within.”
{"title":"Bearing Children, Burying Childhood: An Allegory of Reproductive Rights in The Wizard of Oz (1939)","authors":"J. Hodge","doi":"10.1080/01956051.2021.1975625","DOIUrl":"https://doi.org/10.1080/01956051.2021.1975625","url":null,"abstract":"ABSTRACT This article argues that MGM’s 1939 classic The Wizard of Oz allegorizes both cultural and political responses to teen pregnancy in the 1930s, a decade which not only saw other movies address similar woman’s rights issues, but also saw legislation which eased restrictions on abortion. Part of the film’s universal appeal is its ability to represent unmarried, pregnant women from all economic brackets as well as provide a “choice” of whether to abandon or maintain what the movie directly identifies as “childhood,” or one’s “inner child,” but which seems to represent what could more accurately be called a “child within.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"132 1","pages":"40 - 48"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86725978","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 : 2022-01-02DOI: 10.1080/01956051.2021.1997891
Leslie Kreiner Wilson
Abstract While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today’s parlance—be termed life coach.
{"title":"“Sex Had Nothing to Do with It”: Mae West as Mentoring Icon","authors":"Leslie Kreiner Wilson","doi":"10.1080/01956051.2021.1997891","DOIUrl":"https://doi.org/10.1080/01956051.2021.1997891","url":null,"abstract":"Abstract While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today’s parlance—be termed life coach.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"13 - 23"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87791402","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 : 2022-01-02DOI: 10.1080/01956051.2021.1971605
Caitlin Shaw
ABSTRACT Babylon Berlin (ARD/Sky, 2017–) depicts Germany’s Weimar Republic by way of complex genericity, drawing especially on the era’s internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational “quality” television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar’s institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a “doomed republic,” the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama’s accessibility, it can also aid critical historical reflection.
{"title":"To the Truth, to the Light: Genericity and Historicity in Babylon Berlin","authors":"Caitlin Shaw","doi":"10.1080/01956051.2021.1971605","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971605","url":null,"abstract":"ABSTRACT Babylon Berlin (ARD/Sky, 2017–) depicts Germany’s Weimar Republic by way of complex genericity, drawing especially on the era’s internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational “quality” television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar’s institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a “doomed republic,” the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama’s accessibility, it can also aid critical historical reflection.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"316 1","pages":"24 - 39"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75298913","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 : 2021-10-02DOI: 10.1080/01956051.2021.1987833
Katarzyna Nowak-McNeice
streaming media: this is what happens when Jackson’s short novel becomes a Netflix property. To fill hours of programming, The Haunting of Hill House needs to be greatly expanded; to fit into the existing mold the story must incorporate a steady dose of jump scares and Stranger Things–style cliffhangers; to invite repeat screenings it needs a host of webpage-baiting Easter eggs (hello Russ Tamblyn!). Indeed, a more transparent Netflix would have used this book’s title itself. The issue extends beyond curmudgeonly grumbling about this series’ lack of fidelity, or wrongheadedly advocating for a return to those barren “fidelity” days of adaptation studies. Even more address from the contributors on the union of Netflix—and other streaming services—with literary properties would have been welcome (but please note that this volume does not condemn such discussion). It seems almost as though artists like Flanagan, and audiences, can conform with the dictates of streaming media culture or abandon new audio-visual media completely. It is not only Jackson fans, Henry James aficionados, or English professors who are anxious about a future littered with literary adaptations that feel more like The Mandalorian (2019–) than the seemingly annual BBC versions of Austen novels. Or, though Austen’s work survived a zombie invasion, must we rejoice in Baby Yoda gifs from the next Pride and Prejudice? Paul N. Reinsch Texas Tech University
流媒体:这就是当杰克逊的短篇小说成为Netflix的财产时发生的事情。为了填满数小时的节目，《鬼屋惊魂》需要大大扩展;为了适应现有的模式，故事必须融入一定量的跳跃恐惧和《怪奇物语》式的悬念;为了吸引观众再次放映，它需要大量吸引网页的彩蛋(你好，Russ Tamblyn!)事实上，更透明的Netflix会直接使用这本书的书名。这个问题已经超出了对这个系列缺乏忠实度的抱怨，或者错误地主张回到那些贫瘠的“忠实”适应研究的日子。如果能有更多关于netflix和其他流媒体服务联合的文章，我们会很欢迎(但请注意，本书并不谴责这样的讨论)。像弗拉纳根这样的艺术家和观众似乎可以顺应流媒体文化的要求，或者完全放弃新的视听媒体。不仅仅是杰克逊的粉丝、亨利·詹姆斯(Henry James)的粉丝或英语教授们担心，未来充斥着更像《曼达洛人》(2019 -)的文学改编作品，而不是看似每年一度的BBC版奥斯汀小说。或者，尽管奥斯汀的作品在僵尸入侵中幸存了下来，我们必须为下一部《傲慢与偏见》中的婴儿尤达礼物感到高兴吗?Paul N. Reinsch德克萨斯理工大学
{"title":"WOMEN IN THE WESTERN Ed. Sue Matheson. Edinburgh: Edinburgh UP, 2020. 360 pp. $110.00 hardcover.","authors":"Katarzyna Nowak-McNeice","doi":"10.1080/01956051.2021.1987833","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987833","url":null,"abstract":"streaming media: this is what happens when Jackson’s short novel becomes a Netflix property. To fill hours of programming, The Haunting of Hill House needs to be greatly expanded; to fit into the existing mold the story must incorporate a steady dose of jump scares and Stranger Things–style cliffhangers; to invite repeat screenings it needs a host of webpage-baiting Easter eggs (hello Russ Tamblyn!). Indeed, a more transparent Netflix would have used this book’s title itself. The issue extends beyond curmudgeonly grumbling about this series’ lack of fidelity, or wrongheadedly advocating for a return to those barren “fidelity” days of adaptation studies. Even more address from the contributors on the union of Netflix—and other streaming services—with literary properties would have been welcome (but please note that this volume does not condemn such discussion). It seems almost as though artists like Flanagan, and audiences, can conform with the dictates of streaming media culture or abandon new audio-visual media completely. It is not only Jackson fans, Henry James aficionados, or English professors who are anxious about a future littered with literary adaptations that feel more like The Mandalorian (2019–) than the seemingly annual BBC versions of Austen novels. Or, though Austen’s work survived a zombie invasion, must we rejoice in Baby Yoda gifs from the next Pride and Prejudice? Paul N. Reinsch Texas Tech University","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"4 1","pages":"234 - 235"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77221333","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 : 2021-10-02DOI: 10.1080/01956051.2021.1987835
Danielle Glassmeyer
{"title":"HOLLYWOOD HATES HITLER! JEW-BAITING, ANTI-NAZISM AND THE SENATE INVESTIGATION INTO WARMONGERING IN MOTION PICTURES By Chris Yogerst. Jackson: U P of Mississippi, 2020. 208 pp. $25.00 paper.","authors":"Danielle Glassmeyer","doi":"10.1080/01956051.2021.1987835","DOIUrl":"https://doi.org/10.1080/01956051.2021.1987835","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"18 1","pages":"238 - 239"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84464427","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 : 2021-10-02DOI: 10.1080/01956051.2021.1971918
K. Flanagan
{"title":"COLD WAR FILM GENRES Edited by Homer B. Pettey. Edinburgh UP, 2018. 280 pp. $110 hardcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2021.1971918","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971918","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"13 4","pages":"232 - 232"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72458141","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 : 2021-10-02DOI: 10.1080/01956051.2021.1972924
Jee-Hae Jung
Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine’s urban experiences, this essay discusses the ways in which the film valorizes “surface culture” as opposed to moral “depth.”
{"title":"The Representation of Urban Surface Culture in Asphalt (1929)","authors":"Jee-Hae Jung","doi":"10.1080/01956051.2021.1972924","DOIUrl":"https://doi.org/10.1080/01956051.2021.1972924","url":null,"abstract":"Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine’s urban experiences, this essay discusses the ways in which the film valorizes “surface culture” as opposed to moral “depth.”","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"83 2 1","pages":"223 - 231"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77907722","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 : 2021-10-02DOI: 10.1080/01956051.2021.1871876
Michelle Ann Abate
Abstract This essay gives much-needed critical attention to the 1980s sitcom, The Facts of Life. While the show was a spinoff to the series Diff’rent Strokes, I make a case that its true creative and cultural debt is to a far different source: Louisa May Alcott’s 1868 novel, Little Women.
摘要本文对20世纪80年代的情景喜剧《生活的真相》给予了批判性的关注。虽然这部剧是《不同的笔触》系列的衍生剧，但我认为，它真正的创意和文化债务来自一个截然不同的来源:路易莎·梅·奥尔科特(Louisa May Alcott) 1868年的小说《小女人》(Little Women)。
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Pub Date : 2021-10-02DOI: 10.1080/01956051.2021.1971926
H. Humann
Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th
{"title":"WOMEN MAKE HORROR: FILMMAKING, FEMINISM, GENRE. Edited by Alison Peirse. Rutgers UP, 2020. 270 pp. $29.95 paper.","authors":"H. Humann","doi":"10.1080/01956051.2021.1971926","DOIUrl":"https://doi.org/10.1080/01956051.2021.1971926","url":null,"abstract":"Feminine Turn in Postwar Westerns”; Martin M. Winkler’s “Clytemnestra and Electra under Western Skies”; and Christopher Minz’s “‘Never seen a woman who was more of a man’: Saloon Girls, Women Heroes, and Female Masculinity in the Western.” Studlar examines the movies that present psychological drama and focus on family dynamics. Such films, informed by the growing popularity of Freudian theories, have a subversive potential because, in Studlar’s words, they “complicated American myths, whether by calling subtle attention to contradictions in them, or through more overt questioning of assumptions about gender and sexuality as well as race and class” (84). Winkler’s study shows affinities between the Western and classical myth, analyzing transpositions of Electra and Clytemnestra archetypes to film. Winkler quotes director Anthony Mann. saying, “You can take any of the great dramas; doesn’t matter whether it’s Shakespeare, whether it’s Greek plays, or what: you can always lay them in the West. They somehow become alive” (100). In Winkler’s assessment, the Western has always been conscious of its potential to provide a backdrop for classical drama and archetypal characters. Minz in turn argues that “the Western has never been specifically about men in its mythological structure” (107), describing the Western as a “masculinist” project and situating it within the masculine, rather than biologically male, frame of reference. Minz probes the “unconscious of the Western” and shows the pervasiveness and importance of a “non-male masculinity” (108). The chapters in the second part focus on contemporary Westerns and analyze them in the light of recent political events, reading the movies as a reflection of wider cultural narratives in which these events are understood, digested, and represented; many take 9/11 as a pivoting moment. Robert Spindler argues, “Western cinema after 9/11 seems to follow along two parallel and contradictory lines that either attempt to resurrect the traditional Western and the supposedly proto-American values the genre represents, or deconstruct its rigid forms further” (162); the essays in the second part confirm this assertion. Fran Pheasant-Kelly’s essay points to the women-as-victims trope and cowboy rhetoric in the post-9/11 Western. It starts with a strong statement: “At the core of the classic Western exists a mythology founded on convictions of American exceptionalism and white racial superiority” (121). In a similar vein, Kelly MacPhail continues with an examination of revisionist Westerns in his contribution: revisionist Westerns, as he stresses, highlight majority society’s anxiety concerning such issues as the “assimilation, miscegenation, and contamination of women” and provide a challenge to essentialist assumptions about gender, race, power dynamics, and identity (142). A particular brand of a revisionist Western, a feminist Western, is the focus of Andrew Patrick Nelson’s essay. Nelson discusses the validity of th","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"15 1","pages":"235 - 236"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79491771","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 : 2021-10-02DOI: 10.1080/01956051.2021.1875974
D. McLean
Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium.
{"title":"HBO’s Watchmen and Generic Revision in a Genre of Adaptation","authors":"D. McLean","doi":"10.1080/01956051.2021.1875974","DOIUrl":"https://doi.org/10.1080/01956051.2021.1875974","url":null,"abstract":"Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"21 1","pages":"196 - 209"},"PeriodicalIF":0.1,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73763200","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}
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