Pub Date : 2022-12-01DOI: 10.3167/proj.2022.160303
Brad Jackson
When watching a film, we engage with much more than combinations of moving images. We combine what we see with what we hear, and what we hear often aids in the construction of a story. Although some researchers endorse the ways sound guides viewer expectations, there is still a need to explain the ways images, sounds, and other available cinematic modes interact to construct meaning. This article engages with research on embodiment, cognition, and multimodal artifacts to reveal how sound aids in the construction of film narratives by focusing on examples where sounds take the primary role in constructions of narrative meaning. Additionally, by discussing recent theories on cognition and multimodality, this article shows how sounds can evoke conceptual and narrative information in ways that stabilize our understanding of cinematic representations through the joint contribution of all of the available modes.
{"title":"Sound Anchors","authors":"Brad Jackson","doi":"10.3167/proj.2022.160303","DOIUrl":"https://doi.org/10.3167/proj.2022.160303","url":null,"abstract":"When watching a film, we engage with much more than combinations of moving images. We combine what we see with what we hear, and what we hear often aids in the construction of a story. Although some researchers endorse the ways sound guides viewer expectations, there is still a need to explain the ways images, sounds, and other available cinematic modes interact to construct meaning. This article engages with research on embodiment, cognition, and multimodal artifacts to reveal how sound aids in the construction of film narratives by focusing on examples where sounds take the primary role in constructions of narrative meaning. Additionally, by discussing recent theories on cognition and multimodality, this article shows how sounds can evoke conceptual and narrative information in ways that stabilize our understanding of cinematic representations through the joint contribution of all of the available modes.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"26 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82852604","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 : 2022-06-01DOI: 10.3167/proj.2022.160201
J. Cutting
Since Aristotle, tradition has it that stories are defined as unified wholes, divisible into smaller inter-related parts. In many narrative forms these parts are called scenes. Scenes, too, are regarded as wholes, typically unified on three grounds: a constancy of characters and location within a continuous time frame. Generally, if a storyteller changes one or more of these, the story has moved on to the next scene. But this rule is not universal. The most obvious exception in movies is the telephone call, which can change locations to accommodate images of the two conversing characters. Here, I explore a century’s worth of popular, English-language movies to discern how two-sided telephone conversations (which violate spatial unity) are portrayed on the screen, and how they compare to face-to-face conversations (which do not violate spatial unity) in the same movies. The portrayal of both types of conversations has evolved, sometimes independently and sometimes in synchrony, and popular filmmaking has arrived circuitously at a system in which both are generally portrayed in the same way—two characters in alternating shots, slightly to opposite sides of the midline and turned towards one another. I discuss the social and psychological reasons why this might be the case.
{"title":"Evolution of the Depiction of Telephone Calls in Popular Movies","authors":"J. Cutting","doi":"10.3167/proj.2022.160201","DOIUrl":"https://doi.org/10.3167/proj.2022.160201","url":null,"abstract":"Since Aristotle, tradition has it that stories are defined as unified wholes, divisible into smaller inter-related parts. In many narrative forms these parts are called scenes. Scenes, too, are regarded as wholes, typically unified on three grounds: a constancy of characters and location within a continuous time frame. Generally, if a storyteller changes one or more of these, the story has moved on to the next scene. But this rule is not universal. The most obvious exception in movies is the telephone call, which can change locations to accommodate images of the two conversing characters. Here, I explore a century’s worth of popular, English-language movies to discern how two-sided telephone conversations (which violate spatial unity) are portrayed on the screen, and how they compare to face-to-face conversations (which do not violate spatial unity) in the same movies. The portrayal of both types of conversations has evolved, sometimes independently and sometimes in synchrony, and popular filmmaking has arrived circuitously at a system in which both are generally portrayed in the same way—two characters in alternating shots, slightly to opposite sides of the midline and turned towards one another. I discuss the social and psychological reasons why this might be the case.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"8 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72467284","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 : 2022-06-01DOI: 10.3167/proj.2022.160203
M. Hye‐Knudsen
In 1964, near the height of Cold War nuclear anxiety, millions of Americans flocked to movie theatres to see their own nuclear annihilation hilariously enacted for them in Stanley Kubrick’s Dr. Strangelove. How did Kubrick transform one of his time’s most pressing causes of psychological distress into a source of humorous pleasure? To answer this question, I offer a cognitive account of how comic distance works on film, building on research indicating humor to be an evolved response to benign violations. I show that Kubrick consistently optimized for psychological distance in Dr. Strangelove, comparing his narrative and stylistic choices to those of Sidney Lumet in Fail Safe, a contemporaneous film that plays the same essential story for drama instead of laughs.
{"title":"Dr. Strangelove and the Psychology of Comic Distance","authors":"M. Hye‐Knudsen","doi":"10.3167/proj.2022.160203","DOIUrl":"https://doi.org/10.3167/proj.2022.160203","url":null,"abstract":"In 1964, near the height of Cold War nuclear anxiety, millions of Americans flocked to movie theatres to see their own nuclear annihilation hilariously enacted for them in Stanley Kubrick’s Dr. Strangelove. How did Kubrick transform one of his time’s most pressing causes of psychological distress into a source of humorous pleasure? To answer this question, I offer a cognitive account of how comic distance works on film, building on research indicating humor to be an evolved response to benign violations. I show that Kubrick consistently optimized for psychological distance in Dr. Strangelove, comparing his narrative and stylistic choices to those of Sidney Lumet in Fail Safe, a contemporaneous film that plays the same essential story for drama instead of laughs.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73005381","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 : 2022-03-01DOI: 10.3167/proj.2022.160105
D. Levin, Andrew Mattarella-Micke, Madison Lee, Lewis J. Baker, Matthew A. Bezdek, Bruce D. McCandliss
Using functional magnetic resonance imaging, we tested the hypothesis that cinematic structure shapes variation in social-cognitive brain activity. Using our film, we completed an exploratory analysis of how activations in the temporal-parietal junction (TPJ), and the intraparietal sulcus (IPS) are shaped by variations in insert shots (e.g., shots showing objects that a character has looked at), and by character entrances and exits. We found that IPS and TPJ consistently responded to insert shots, and the correlation between TPJ and IPS responses significantly predicted the prevalence of belief inferences during the sequence. In addition, TPJ responded significantly to entrances and exits of characters. We also completed a qualitative analysis of moments during a sequence that induced relative peaks in TPJ and IPS responding. These analyses not only demonstrate that consistent brain responses can distinguish among meaningful variations in cinematic events but also that these analyses confirm and refine our understanding of the apparent specializations for visual attention and domain-specific event processing in parietal attention networks.
{"title":"How Movie Events Engage Childrens’ Brains to Combine Visual Attention with Domain-Specific Processing Involving Number and Theory of Mind in a Cinematic Arena","authors":"D. Levin, Andrew Mattarella-Micke, Madison Lee, Lewis J. Baker, Matthew A. Bezdek, Bruce D. McCandliss","doi":"10.3167/proj.2022.160105","DOIUrl":"https://doi.org/10.3167/proj.2022.160105","url":null,"abstract":"Using functional magnetic resonance imaging, we tested the hypothesis that cinematic structure shapes variation in social-cognitive brain activity. Using our film, we completed an exploratory analysis of how activations in the temporal-parietal junction (TPJ), and the intraparietal sulcus (IPS) are shaped by variations in insert shots (e.g., shots showing objects that a character has looked at), and by character entrances and exits. We found that IPS and TPJ consistently responded to insert shots, and the correlation between TPJ and IPS responses significantly predicted the prevalence of belief inferences during the sequence. In addition, TPJ responded significantly to entrances and exits of characters. We also completed a qualitative analysis of moments during a sequence that induced relative peaks in TPJ and IPS responding. These analyses not only demonstrate that consistent brain responses can distinguish among meaningful variations in cinematic events but also that these analyses confirm and refine our understanding of the apparent specializations for visual attention and domain-specific event processing in parietal attention networks.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79707350","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 : 2022-03-01DOI: 10.3167/proj.2022.160108
W. Seeley
Research in cognitive science and aesthetics is on the rise. The skeptical position called moderate pessimism grants that neuroscience might play a role in theorizing about the nature of film and other arts, but offers little help with thorny conceptual questions key to understanding the nature of the arts. Moderate optimists note that the scope of neuroscientific research in the arts cannot be resolved in advance. I evaluate the debate between these positions, introduce a diagnostic recognition framework for neuroscience of film and, drawing on research from the neurophysiology of attention, explore the role the framework can play in discussions of narrative understanding and character engagement at the movies. I conclude that moderate optimism is a more promising methodological fit to collaborative research in neuroscience of film.
{"title":"How to Be a Moderate Optimist about Neuroscience in Film Theory and Other Places","authors":"W. Seeley","doi":"10.3167/proj.2022.160108","DOIUrl":"https://doi.org/10.3167/proj.2022.160108","url":null,"abstract":"Research in cognitive science and aesthetics is on the rise. The skeptical position called moderate pessimism grants that neuroscience might play a role in theorizing about the nature of film and other arts, but offers little help with thorny conceptual questions key to understanding the nature of the arts. Moderate optimists note that the scope of neuroscientific research in the arts cannot be resolved in advance. I evaluate the debate between these positions, introduce a diagnostic recognition framework for neuroscience of film and, drawing on research from the neurophysiology of attention, explore the role the framework can play in discussions of narrative understanding and character engagement at the movies. I conclude that moderate optimism is a more promising methodological fit to collaborative research in neuroscience of film.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86959012","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 : 2022-03-01DOI: 10.3167/proj.2022.160107
Joerg Fingerhut, Katrin Heimann
This article highlights ways to relate psychology, neuroscience, and film theory that are underrepresented in the current debate and that could contribute to a new cognitive media theory. First, we outline how neuroscientific approaches to moving images could be embedded in the embodied, enactive cognition framework and recent predictive processing theories of the brain. Within this framework, we understand filmic engagement as a specific way of worldmaking, which is co-constituted by formal elements such as framing, camerawork, and editing. Second, we address experimental progress. Here we weigh the promises and perils of neuroscientific studies by discussing the motor neuron account to camera movements as an example. Based on the limitations we identify, we advocate for a multi-method study of film experience that brings cognitive science into dialogue with philosophical accounts and qualitative in-depth explorations of subjective experience.
{"title":"Enacting Moving Images","authors":"Joerg Fingerhut, Katrin Heimann","doi":"10.3167/proj.2022.160107","DOIUrl":"https://doi.org/10.3167/proj.2022.160107","url":null,"abstract":"This article highlights ways to relate psychology, neuroscience, and film theory that are underrepresented in the current debate and that could contribute to a new cognitive media theory. First, we outline how neuroscientific approaches to moving images could be embedded in the embodied, enactive cognition framework and recent predictive processing theories of the brain. Within this framework, we understand filmic engagement as a specific way of worldmaking, which is co-constituted by formal elements such as framing, camerawork, and editing. Second, we address experimental progress. Here we weigh the promises and perils of neuroscientific studies by discussing the motor neuron account to camera movements as an example. Based on the limitations we identify, we advocate for a multi-method study of film experience that brings cognitive science into dialogue with philosophical accounts and qualitative in-depth explorations of subjective experience.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"36 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82804787","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 : 2022-03-01DOI: 10.3167/proj.2022.160103
A. Kolesnikov
In this article, a neurohumanistic, “third culture” approach to “gesture” is delineated. Grounded in an exegesis of Eisenstein’s sensorimotor theory and extending to both contemporary and historical thinkers, a “constellation” of the notion of both visual and musical gestures is triangulated and operationalized into empirical research. An overlap between Eisenstein’s model of audio/visual gestures and the contemporary frameworks of embodied simulation theory and embodied music cognition is revealed. Through artistic collaborations with a filmmaker and a film composer, custom-made, naturalistic video clips (filmed with a drone) and musical tracks were created using the film The Cranes Are Flying (Kalatozov 1957) as an aesthetic model. Empirical results demonstrate an increased sense of movement and involvement in the perception of both visual and musical “ascent.”
{"title":"Cranes, Drones and Eisenstein","authors":"A. Kolesnikov","doi":"10.3167/proj.2022.160103","DOIUrl":"https://doi.org/10.3167/proj.2022.160103","url":null,"abstract":"In this article, a neurohumanistic, “third culture” approach to “gesture” is delineated. Grounded in an exegesis of Eisenstein’s sensorimotor theory and extending to both contemporary and historical thinkers, a “constellation” of the notion of both visual and musical gestures is triangulated and operationalized into empirical research. An overlap between Eisenstein’s model of audio/visual gestures and the contemporary frameworks of embodied simulation theory and embodied music cognition is revealed. Through artistic collaborations with a filmmaker and a film composer, custom-made, naturalistic video clips (filmed with a drone) and musical tracks were created using the film The Cranes Are Flying (Kalatozov 1957) as an aesthetic model. Empirical results demonstrate an increased sense of movement and involvement in the perception of both visual and musical “ascent.”","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77396382","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 : 2022-03-01DOI: 10.3167/proj.2022.160104
Pia Tikka
The neurocinematic inquiry is extended in this article to the sparsely studied topic of the filmmaker (author) as an embodied agent. Departing from my concept of second-order authorship, and inspired by the second-person framework of intersubjectivity discussed by Michael Pauen and Vittorio Gallese, I propose a model in which the author simulates the viewer (experient) who further simulates the experience of the protagonist in the film. This chain of relations is described as enactive second-order simulation of the viewer experience. While the author does not have a direct key to influence the experient, there is a relation mediated by the protagonist’s situatedness in the film’s narrative context. I further trust the core assumption of the neurocinematic approach—namely, that film as a narrative medium provides a means to imitate contexts of life that condition the enactive simulation of both the author and the experient.
{"title":"Enactive Authorship","authors":"Pia Tikka","doi":"10.3167/proj.2022.160104","DOIUrl":"https://doi.org/10.3167/proj.2022.160104","url":null,"abstract":"The neurocinematic inquiry is extended in this article to the sparsely studied topic of the filmmaker (author) as an embodied agent. Departing from my concept of second-order authorship, and inspired by the second-person framework of intersubjectivity discussed by Michael Pauen and Vittorio Gallese, I propose a model in which the author simulates the viewer (experient) who further simulates the experience of the protagonist in the film. This chain of relations is described as enactive second-order simulation of the viewer experience. While the author does not have a direct key to influence the experient, there is a relation mediated by the protagonist’s situatedness in the film’s narrative context. I further trust the core assumption of the neurocinematic approach—namely, that film as a narrative medium provides a means to imitate contexts of life that condition the enactive simulation of both the author and the experient.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87932479","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 : 2022-03-01DOI: 10.3167/proj.2022.160102
Murray Smith
What is the relationship between detailed critical analysis and the background assumptions made by a given theory of film spectatorship? In this article, I approach this question by looking at Vittorio Gallese and Michele Guerra’s The Empathic Screen in the light of the method of triangulation—the coordination and integration of phenomenological, psychological, and neuroscientific evidence, as set out in my Film, Art, and the Third Culture. In particular, I examine Gallese and Guerra’s arguments concerning the role of camera movement in prompting immersive, embodied simulation, as well as critiques of these arguments from David Bordwell and Malcolm Turvey. I focus on the special, irreducible role of critical analysis in these arguments. Detailed analysis of film form and style plays an essential role, I argue, in demonstrating the plausibility (or otherwise) of the thesis advanced by Gallese and Guerra. Such analysis is where the rubber of theoretical assumptions meets the road of the material work.
{"title":"Triangulation Revisited","authors":"Murray Smith","doi":"10.3167/proj.2022.160102","DOIUrl":"https://doi.org/10.3167/proj.2022.160102","url":null,"abstract":"What is the relationship between detailed critical analysis and the background assumptions made by a given theory of film spectatorship? In this article, I approach this question by looking at Vittorio Gallese and Michele Guerra’s The Empathic Screen in the light of the method of triangulation—the coordination and integration of phenomenological, psychological, and neuroscientific evidence, as set out in my Film, Art, and the Third Culture. In particular, I examine Gallese and Guerra’s arguments concerning the role of camera movement in prompting immersive, embodied simulation, as well as critiques of these arguments from David Bordwell and Malcolm Turvey. I focus on the special, irreducible role of critical analysis in these arguments. Detailed analysis of film form and style plays an essential role, I argue, in demonstrating the plausibility (or otherwise) of the thesis advanced by Gallese and Guerra. Such analysis is where the rubber of theoretical assumptions meets the road of the material work.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"111 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89550353","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 : 2022-03-01DOI: 10.3167/proj.2022.160101
V. Gallese, Michele Guerra
In the last decades, the contribution of cognitive neuroscience to film studies has been invested in at least three different lines of research. The first one has to do with film theory and history: the new attention, inspired by cognitive neuroscience, to the viewer’s brain-body, the sensorimotor basis of film cognition, and the forms of embodied simulation elicited by the cinematic experience has stimulated a profound rethinking of a relevant part of the theoretical discourse on cinema, from the very beginning of the twentieth century to the most recent reflections within cognitive film studies and the phenomenology of film. The second line has to do with the intersubjective relationship between the movie—its style, rhythm, characters, and narrative—and the viewer, and it is characterized by an empirical approach that yields very interesting results, useful for rethinking and problematizing our ideas about editing, camera movements, and film reception. The third line concerns a possible experimental approach to the new life of film, focusing on the digital image, the innovative forms of technological mediation, and the inscription of a new film spectatorship within a completely different medial frame. The goal of this special issue is to offer insights across these lines of research.
{"title":"The Neuroscience of Film","authors":"V. Gallese, Michele Guerra","doi":"10.3167/proj.2022.160101","DOIUrl":"https://doi.org/10.3167/proj.2022.160101","url":null,"abstract":"In the last decades, the contribution of cognitive neuroscience to film studies has been invested in at least three different lines of research. The first one has to do with film theory and history: the new attention, inspired by cognitive neuroscience, to the viewer’s brain-body, the sensorimotor basis of film cognition, and the forms of embodied simulation elicited by the cinematic experience has stimulated a profound rethinking of a relevant part of the theoretical discourse on cinema, from the very beginning of the twentieth century to the most recent reflections within cognitive film studies and the phenomenology of film. The second line has to do with the intersubjective relationship between the movie—its style, rhythm, characters, and narrative—and the viewer, and it is characterized by an empirical approach that yields very interesting results, useful for rethinking and problematizing our ideas about editing, camera movements, and film reception. The third line concerns a possible experimental approach to the new life of film, focusing on the digital image, the innovative forms of technological mediation, and the inscription of a new film spectatorship within a completely different medial frame. The goal of this special issue is to offer insights across these lines of research.","PeriodicalId":93495,"journal":{"name":"Projections (New York, N.Y.)","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80676122","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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