Pub Date : 2023-05-02DOI: 10.1177/15274764231171072
Gerald Sim
This article questions the way that movie recommendation systems designed to microtarget spectators are thought to operationalize microgenres, highly specific groupings that appeal to narrow niches. If industry leader Netflix’s “altgenres” can track fluid preferences and reconceive audience groupings continuously to effectuate “deep personalization,” such trends towards individualization would undermine canonical genres and their study. But in clarifying the differences and similarities between microgenres, altgenres, subgenres, and cycles, this article situates digital microgenres beside long-standing Hollywood practices, discovers traditional genres enduring at the heart of industry applications of data science, and argues for analytics as a potential boon for film genre studies.
{"title":"The Idea of Genre in the Algorithmic Cinema","authors":"Gerald Sim","doi":"10.1177/15274764231171072","DOIUrl":"https://doi.org/10.1177/15274764231171072","url":null,"abstract":"This article questions the way that movie recommendation systems designed to microtarget spectators are thought to operationalize microgenres, highly specific groupings that appeal to narrow niches. If industry leader Netflix’s “altgenres” can track fluid preferences and reconceive audience groupings continuously to effectuate “deep personalization,” such trends towards individualization would undermine canonical genres and their study. But in clarifying the differences and similarities between microgenres, altgenres, subgenres, and cycles, this article situates digital microgenres beside long-standing Hollywood practices, discovers traditional genres enduring at the heart of industry applications of data science, and argues for analytics as a potential boon for film genre studies.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"510 - 523"},"PeriodicalIF":2.0,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44730475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-29DOI: 10.1177/15274764231171069
Hsin-Pey Peng
The trendy drama, a new TV genre coined to signify contemporary trends, initially emerged in Japan in the 1980s and became popular with middle-class audiences across East Asia for portraying Western-like chic metropolitan lifestyles. This television genre typically consists of a 10 to 13 episode long miniseries with 60 to 90 minute episodes. Their narratives focus on love affairs between rich, attractive, hard-working elites as they question traditional Han Chinese values and consider whether women should be independent, allowed to work, have sex outside marriage, and divorce. While specifically Chinese, these values have influenced cultures across East Asia. While espousing liberal and feminist ideals, they roam from trendy stores, such as fashion clothing and cosmetic shops, to expensive restaurants, and back to their luxurious apartments. Quickly, these dramas became so associated with highlighting current global and local trends and countering tradition that they became known as “trendy dramas”. This genre quickly took off and soon thereafter, South Korea and Taiwan partnered together to create their own versions of trendy dramas that helped generate much of contemporary East Asian popular culture, including the rise of K-Pop. Based on Mittell’s claim that genres function as a means of framing mass audiences’ taste, here I explore the role of this TV genre in the context of globalization and local culture in East Asia and its effect upon reshaping social meanings during the 1980s and the early 2010s. In particular, the Taiwanese trendy dramas played a key role in elevating this genre within the Asian TV market. In this article, I argue that in Japan, Taiwan, and South Korea, the trendy drama became a way to debate Han cultural values and their role in the lives of liberal metropolitan Asians. In the process, this genre helped reshape the East Asian TV market along with popular culture around the globe. I will begin by describing the history of the trendy drama before focusing on how it debates traditional beliefs and considers the value and utility of feminism and individualism in contemporary urban Asia.
{"title":"Creative Genre Matters: Trendy Drama and the Rise of the East Asian Global Media Market","authors":"Hsin-Pey Peng","doi":"10.1177/15274764231171069","DOIUrl":"https://doi.org/10.1177/15274764231171069","url":null,"abstract":"The trendy drama, a new TV genre coined to signify contemporary trends, initially emerged in Japan in the 1980s and became popular with middle-class audiences across East Asia for portraying Western-like chic metropolitan lifestyles. This television genre typically consists of a 10 to 13 episode long miniseries with 60 to 90 minute episodes. Their narratives focus on love affairs between rich, attractive, hard-working elites as they question traditional Han Chinese values and consider whether women should be independent, allowed to work, have sex outside marriage, and divorce. While specifically Chinese, these values have influenced cultures across East Asia. While espousing liberal and feminist ideals, they roam from trendy stores, such as fashion clothing and cosmetic shops, to expensive restaurants, and back to their luxurious apartments. Quickly, these dramas became so associated with highlighting current global and local trends and countering tradition that they became known as “trendy dramas”. This genre quickly took off and soon thereafter, South Korea and Taiwan partnered together to create their own versions of trendy dramas that helped generate much of contemporary East Asian popular culture, including the rise of K-Pop. Based on Mittell’s claim that genres function as a means of framing mass audiences’ taste, here I explore the role of this TV genre in the context of globalization and local culture in East Asia and its effect upon reshaping social meanings during the 1980s and the early 2010s. In particular, the Taiwanese trendy dramas played a key role in elevating this genre within the Asian TV market. In this article, I argue that in Japan, Taiwan, and South Korea, the trendy drama became a way to debate Han cultural values and their role in the lives of liberal metropolitan Asians. In the process, this genre helped reshape the East Asian TV market along with popular culture around the globe. I will begin by describing the history of the trendy drama before focusing on how it debates traditional beliefs and considers the value and utility of feminism and individualism in contemporary urban Asia.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"549 - 558"},"PeriodicalIF":2.0,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48501817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.1177/15274764231171068
Bethan Jones
From The X-Files to Friends, Gilmore Girls to Twin Peaks, revivals of beloved TV series have dominated the airwaves and streaming services over the last decade. The media landscape has changed significantly since these series’ original airings, however, and webisodes, video games, social media hashtags and fan communities exist alongside—and act upon—the “original” text. By focusing on The X-Files and Twin Peaks revivals this chapter theorizes the return of cult television series as neo-cult. I use the concept of the dialogic to argue that if cult is defined dialogically between text, audience, industry, the media and the academy, neo-cult emerges through discourse recalling the series’ earlier iterations as cult being reflected and amplified, thus resulting in the revived text becoming a self-referential cult text or neo-cult.
{"title":"Neo-Cult and the Altered Audience: Reviving Cult TV for the Post-TV Age","authors":"Bethan Jones","doi":"10.1177/15274764231171068","DOIUrl":"https://doi.org/10.1177/15274764231171068","url":null,"abstract":"From The X-Files to Friends, Gilmore Girls to Twin Peaks, revivals of beloved TV series have dominated the airwaves and streaming services over the last decade. The media landscape has changed significantly since these series’ original airings, however, and webisodes, video games, social media hashtags and fan communities exist alongside—and act upon—the “original” text. By focusing on The X-Files and Twin Peaks revivals this chapter theorizes the return of cult television series as neo-cult. I use the concept of the dialogic to argue that if cult is defined dialogically between text, audience, industry, the media and the academy, neo-cult emerges through discourse recalling the series’ earlier iterations as cult being reflected and amplified, thus resulting in the revived text becoming a self-referential cult text or neo-cult.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"524 - 534"},"PeriodicalIF":2.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46377983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.1177/15274764231171066
Jaimie Baron
In this essay, I propose both a definition and a pragmatic reclamation of the dated text—and specifically the dated film—not as endorsement or nostalgia or camp, but as embodied temporal revelation. In particular, I seek to reappropriate the (now) racist, sexist, homophobic, and otherwise ethically compromised film as a means of seeing ideology, of perceiving societal change, of re-cognizing the contingency of every historical moment, including our own. Indeed, I define the dated film here as one that provokes the embodied experience of contemporary ethics as such. Presentist critiques of the past, however well-intentioned, inadvertently reify the present and its ideologies. They erroneously imply, like Francis Fukuyama, that we have reached the “end of history,” that our values now are (and should be) eternal. The dated film, then, serves as an antidote to the hubris of the present and opens onto greater possibilities for the future.
{"title":"The Ethical Cringe, or the Dated Film as Revelatory Genre","authors":"Jaimie Baron","doi":"10.1177/15274764231171066","DOIUrl":"https://doi.org/10.1177/15274764231171066","url":null,"abstract":"In this essay, I propose both a definition and a pragmatic reclamation of the dated text—and specifically the dated film—not as endorsement or nostalgia or camp, but as embodied temporal revelation. In particular, I seek to reappropriate the (now) racist, sexist, homophobic, and otherwise ethically compromised film as a means of seeing ideology, of perceiving societal change, of re-cognizing the contingency of every historical moment, including our own. Indeed, I define the dated film here as one that provokes the embodied experience of contemporary ethics as such. Presentist critiques of the past, however well-intentioned, inadvertently reify the present and its ideologies. They erroneously imply, like Francis Fukuyama, that we have reached the “end of history,” that our values now are (and should be) eternal. The dated film, then, serves as an antidote to the hubris of the present and opens onto greater possibilities for the future.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"584 - 594"},"PeriodicalIF":2.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65422032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/15274764221100474
Mike Wayne, M. Sienkiewicz
Using the media industry studies approach, this article examines the acquisition strategies and licensing practices employed by three recently launched niche Jewish/Israeli subscription video on-demand (SVOD) services. Drawing on qualitative interviews with executives and publicly available materials, this analysis argues that these services acquire film and television titles through a combination of traditional and innovative licensing arrangements intended to maximize access to Jewish-themed or Israeli-produced content unwanted by better funded platforms. The findings reveal the ways in which access to specific kinds of content is dependent on executives’ ability to leverage preexisting industry-specific professional relationships as they attempt to maximize the value created from limited economic resources. As such, this article offers insights by contextualizing licensing practices being employed by niche SVODs across film and television industries while also highlighting the limitations of using the mainstream/niche binary to understand streaming distribution.
{"title":"“We Don’t Aspire to Be Netflix”: Understanding Content Acquisition Practices Among Niche Streaming Services","authors":"Mike Wayne, M. Sienkiewicz","doi":"10.1177/15274764221100474","DOIUrl":"https://doi.org/10.1177/15274764221100474","url":null,"abstract":"Using the media industry studies approach, this article examines the acquisition strategies and licensing practices employed by three recently launched niche Jewish/Israeli subscription video on-demand (SVOD) services. Drawing on qualitative interviews with executives and publicly available materials, this analysis argues that these services acquire film and television titles through a combination of traditional and innovative licensing arrangements intended to maximize access to Jewish-themed or Israeli-produced content unwanted by better funded platforms. The findings reveal the ways in which access to specific kinds of content is dependent on executives’ ability to leverage preexisting industry-specific professional relationships as they attempt to maximize the value created from limited economic resources. As such, this article offers insights by contextualizing licensing practices being employed by niche SVODs across film and television industries while also highlighting the limitations of using the mainstream/niche binary to understand streaming distribution.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"298 - 315"},"PeriodicalIF":2.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41630708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1177/15274764221087994
Chun-Pin Su
Platformization theory proposes that cultural productions are contingent on platforms. This study argues that in the Chinese context; however, online productions are contingent not only on platforms, but on government policies. Under the influence of state, market, and platform policy, major streaming services in China are becoming an online “state TV.” The limitations placed on grassroots content has forced creators to thrive elsewhere, contributing to the proliferation of short video platforms such as TikTok. This study investigates the contingency and precarity of the online sector to map the migration of content creators from conventional streaming services to the emerging creative forms of short videos and livestreaming.
{"title":"Contingency, Precarity and Short-Video Creativity: Platformization Based Analysis of Chinese Online Screen Industry","authors":"Chun-Pin Su","doi":"10.1177/15274764221087994","DOIUrl":"https://doi.org/10.1177/15274764221087994","url":null,"abstract":"Platformization theory proposes that cultural productions are contingent on platforms. This study argues that in the Chinese context; however, online productions are contingent not only on platforms, but on government policies. Under the influence of state, market, and platform policy, major streaming services in China are becoming an online “state TV.” The limitations placed on grassroots content has forced creators to thrive elsewhere, contributing to the proliferation of short video platforms such as TikTok. This study investigates the contingency and precarity of the online sector to map the migration of content creators from conventional streaming services to the emerging creative forms of short videos and livestreaming.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"173 - 189"},"PeriodicalIF":2.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48141054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-16DOI: 10.1177/15274764221146475
Corrina Laughlin
Through evidence gathered from sixteen interviews with producers and businesspeople in the podcast industry, this paper argues that the professionals that populated the early phase of the formalizing podcasting scene made up an interpretive community defined, in part, by their appreciation for, and experiences with, public radio. I chart how this interpretive community cast themselves against dominant public radio paradigms when they moved into podcasting, while also retaining much of public radio’s ethos, and I discuss what the central preoccupations of this interpretive community were. I assert that audio broadcasting as understood and practiced within the interpretive community is a particularly millennial medium, influenced by the norms of digital communication. And I make claims about how this is foundational to understanding podcasting’s political and aesthetic predispositions. Ultimately, this argument advances and nuances one connection between public radio and podcasting using qualitative interview data.
{"title":"The Millennial Medium: The Interpretive Community of Early Podcast Professionals","authors":"Corrina Laughlin","doi":"10.1177/15274764221146475","DOIUrl":"https://doi.org/10.1177/15274764221146475","url":null,"abstract":"Through evidence gathered from sixteen interviews with producers and businesspeople in the podcast industry, this paper argues that the professionals that populated the early phase of the formalizing podcasting scene made up an interpretive community defined, in part, by their appreciation for, and experiences with, public radio. I chart how this interpretive community cast themselves against dominant public radio paradigms when they moved into podcasting, while also retaining much of public radio’s ethos, and I discuss what the central preoccupations of this interpretive community were. I assert that audio broadcasting as understood and practiced within the interpretive community is a particularly millennial medium, influenced by the norms of digital communication. And I make claims about how this is foundational to understanding podcasting’s political and aesthetic predispositions. Ultimately, this argument advances and nuances one connection between public radio and podcasting using qualitative interview data.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"810 - 824"},"PeriodicalIF":2.0,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45727122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-16DOI: 10.1177/15274764221150163
Zizi Li
This article examines (im)material digital labor essential to the production of closet decluttering videos on YouTube by analyzing two case studies: Leighannsays and Bestdressed. I highlight three interconnected forms of tidying labor, that is, home, data, and waste management, mobilized for influencer work and cultural platform economy. Wardrobe clean-out videos capitalize on both corporeal and affective aspects of housework and content production in the construction and maintenance of the digital self. They also assemble management labor to organize material articles in domestic space, produce/manage multimedia, and construct/amplify digital existence. The essay also discusses the (im)material labor required by the personal and outsourced handling of the disposed’s hereafters as goods and trash outside of the home. Unpacking how closet decluttering video production nests together (im)material tidying labor associated with disparate sectors from home-based platform cultural production to public management of household waste shed lights on imbricated operations of the influencer ecosystem.
{"title":"Digital Domestic (Im)material Labor: Managing Waste and Self While Producing Closet Decluttering Videos","authors":"Zizi Li","doi":"10.1177/15274764221150163","DOIUrl":"https://doi.org/10.1177/15274764221150163","url":null,"abstract":"This article examines (im)material digital labor essential to the production of closet decluttering videos on YouTube by analyzing two case studies: Leighannsays and Bestdressed. I highlight three interconnected forms of tidying labor, that is, home, data, and waste management, mobilized for influencer work and cultural platform economy. Wardrobe clean-out videos capitalize on both corporeal and affective aspects of housework and content production in the construction and maintenance of the digital self. They also assemble management labor to organize material articles in domestic space, produce/manage multimedia, and construct/amplify digital existence. The essay also discusses the (im)material labor required by the personal and outsourced handling of the disposed’s hereafters as goods and trash outside of the home. Unpacking how closet decluttering video production nests together (im)material tidying labor associated with disparate sectors from home-based platform cultural production to public management of household waste shed lights on imbricated operations of the influencer ecosystem.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"791 - 809"},"PeriodicalIF":2.0,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47498024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-04DOI: 10.1177/15274764221146187
Tiziano Bonini
{"title":"Book Review: The Podcaster’s Dilemma: Decolonizing Podcasters in the Era of Surveillance Capitalism, by Nicholas L. Baham III & Nolan Higdon","authors":"Tiziano Bonini","doi":"10.1177/15274764221146187","DOIUrl":"https://doi.org/10.1177/15274764221146187","url":null,"abstract":"","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"842 - 845"},"PeriodicalIF":2.0,"publicationDate":"2023-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47231630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.1177/15274764221135798
Smith Mehta
My article examines the influence of platformization in labor exchanges to assess how gendered expectations impact digital production cultures. It investigates the socio-cultural transactions that marginalized communities, especially women, from above-the-line professions have to navigate as they seek work opportunities on streaming services. Drawing on feminist production studies and media studies scholarships, the article discusses how gendered expectations become the norm in hiring creator labor. Through analysis of the data-set on the gender representation of key creative professionals in the Indian web series produced between 2014 and 2020, semi-structured interviews with creative professionals, and trade press literature, this research offers a nuanced understanding of how and why Indian on-screen dynamic representations and democratic entrepreneurial working structures do not eradicate gendered production norms. On the contrary, gendered interpretation of algorithmic data, the #metoo movement, and newer forms of sexism emerge alongside existing gendered production cultures to hamper the participation of women and minorities.
{"title":"Where are the Women? Gendered Indian Digital Production Cultures Post #metoo","authors":"Smith Mehta","doi":"10.1177/15274764221135798","DOIUrl":"https://doi.org/10.1177/15274764221135798","url":null,"abstract":"My article examines the influence of platformization in labor exchanges to assess how gendered expectations impact digital production cultures. It investigates the socio-cultural transactions that marginalized communities, especially women, from above-the-line professions have to navigate as they seek work opportunities on streaming services. Drawing on feminist production studies and media studies scholarships, the article discusses how gendered expectations become the norm in hiring creator labor. Through analysis of the data-set on the gender representation of key creative professionals in the Indian web series produced between 2014 and 2020, semi-structured interviews with creative professionals, and trade press literature, this research offers a nuanced understanding of how and why Indian on-screen dynamic representations and democratic entrepreneurial working structures do not eradicate gendered production norms. On the contrary, gendered interpretation of algorithmic data, the #metoo movement, and newer forms of sexism emerge alongside existing gendered production cultures to hamper the participation of women and minorities.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"770 - 790"},"PeriodicalIF":2.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44749547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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