Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques最新文献

{"title":"The Revisability of Film History","authors":"J. White","doi":"10.3138/cjfs-2022-0049","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0049","url":null,"abstract":"Résumé:Dans cette brève analyse suscitée par la publication récente de l'ouvrage de Caroline Zéau Le Cinéma direct : un art de la mise en scène, je soutiens que les généralistes qui abordent la naissance de l'histoire du cinéma, spécialement dans un contexte éducatif, ont beaucoup à gagner d'une approche « parallèle » de concepts comme « les débuts du cinéma ». Comme Zéau nous permet de le comprendre, on pourrait dire la même chose, en partie, de l'évolution du cinéma direct, ou cinéma-vérité. Les œuvres de Mitchell et Kenyon et les séquences ethnographiques filmées par Zora Neale Hurston illustrent cette idée de façon convaincante.Abstract:This brief discussion, led by the recent publication of Caroline Zéau's Le Cinéma direct : un art de la mise en scène, argues that generalists approaching early film history, especially in a classroom environment, have much to gain by considering a more \"parallel\" approach to concepts such as \"early cinema.\" Much the same can be said, Zéau helps us to see, of the evolution of Direct Cinema. Key examples are the work of Mitchell and Kenyon and the ethnographic footage shot by Zora Neale Hurston.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116959894","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}

{"title":"Kill the Documentary: A Letter to Filmmakers, Students, and Scholars by Jill Godmilow (review)","authors":"Lyell Davies","doi":"10.3138/cjfs-2022-0050","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0050","url":null,"abstract":"In Kill the Documentary, celebrated documentarian and educator Jill Godmilow argues we must do away with the “documentary-as-we-know-it,” replacing such “conventional documentaries” with a postrealist cinema. Godmilow calls her missive to filmmakers, students, and scholars, delivered in accessible language and free of heavy-handed theorizing, a “letter.” (In his foreword, film scholar Bill Nichols calls it a “manifesto” [xi].) The author’s reasons for parting ways with conventional documentaries are varied, beginning with how they typically focus on delivering a dramatic narrative, building empathy for individual on-screen figures, and offering reassuring climaxes and neat conclusions, all with the pretense of showing us “reality.” Furthermore, such conventional documentaries are regularly guilty of offences such as servicing cultural imperialism by promulgating an image of “us” and “them” that situates the Western viewer as the ultimate arbiter of knowledge, not illuminating underlying social or economic structures, and flattering liberal viewers into believing they are well-informed citizens. Among the productions Godmilow singles out for extended criticism are Nanook of the North (Robert Flaherty, 1922), for fuelling Western fantasies of a heroic but backward indigenous Other; Hoop Dreams (Steve James, 1994) for focusing on two adversity-defying individual African American characters instead of exploring structural economic oppression and racism; and The Vietnam War (Ken Burns and Lynn Novick, 2017), for neatly consigning this war to the history books without pressing the viewer to consider the moral question “who am I next to this?” (59). Documentaries like these are, Godmilow writes, “a relatively useless cultural product, especially for political change” (2); they fascinate and seduce us, rile our emotions, and then send us contentedly on our way believing we have witnessed reality and are better people for the experience (19). These arguments echo well-versed criticisms of the documentary, from the apprehension that Griersonian reform-minded productions typically serve as “liberal consensus documentaries” (to borrow a term from activist film programmer and scholar Ezra Winton), to Susan Sontag’s linking of indexical photographic images with voyeurism, or studies that show how well-intended documentary film festivals can reduce the travails of Global South constituencies to little more than an entertaining spectacle for Global North audiences.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132006466","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}

{"title":"\"See The Big Picture\": Cineplex Entertainment and Branded Cinemagoing","authors":"Charlotte Orzel","doi":"10.3138/cjfs-2022-0002","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0002","url":null,"abstract":"Résumé:L'article étudie la transformation historique de la présentation de films en salle depuis le début des années 2000 à travers le cas de Cineplex Divertissement, la plus grande chaine de salles de cinéma au Canada. Suivant la tendance générale du marché des films sur grand écran aux États-Unis et au Canada, Cineplex a réagi à la crise par un mouvement de consolidation et de diversification et par de nouvelles options de projection haut de gamme. En réponse aux changements sectoriels, sa campagne publicitaire de 2016 donnait à son marketing un tour personnel, émotionnel et nostalgique en évoquant une éthique bourdieusienne du plaisir, qui fait de celui-ci une responsabilité morale. Ce faisant, la chaine de cinémas a révélé son investissement dans les classes moyennes et supérieures, ciblées par les nouvelles pratiques de diversification et les technologies de projection de pointe. Le recours à la nostalgie inscrivait fictivement Cineplex et ses nouvelles activités dans la lignée des pratiques de projection antérieures, ce qui a permis à la chaine de légitimer ses offres les plus récentes et la continuité de sa position centrale dans la vie culturelle publique.Abstract:This article examines the historical transformation of film exhibition since the early 2000s through a case study of Cineplex Entertainment, Canada's largest theatre chain. In line with broader shifts in the US–Canada theatrical market, Cineplex has responded to a period of crisis with movements toward consolidation, diversification, and the introduction of new premium screening options. Responding to these industrial shifts, the exhibitor's 2016 \"See the Big Picture\" branding campaign turned its marketing toward the personal, emotional, and nostalgic, evoking a Bourdieuian fun ethic that frames pleasure as a moral responsibility. In doing so, it revealed the theatre chain's investments in the middle- and upper-class audiences targeted by emerging diversification practices and premium screening technologies. This nostalgic turn positioned Cineplex and its newest activities in an imagined lineage with previous exhibition practices, allowing the chain to legitimize its newest offerings and its continued importance as a centre for public cultural life.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"56 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117315747","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}

{"title":"Closing the Gap: Storytelling in Nonfiction Virtual Reality","authors":"Philippe Bédard","doi":"10.3138/cjfs-2022-0031","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0031","url":null,"abstract":"Résumé:L'immersion et l'illusion de présence générées par la réalité virtuelle (RV) posent problème dans le contexte de récits documentaires, où la RV peut conduire à ce que Kate Nash a appelé une « distance inappropriée » (improper distance). Comment pouvons-nous nous assurer que la capacité de la RV à créer une impression de présence soit utilisée pour produire une posture de témoin qui soit éthique? Le but de cet article est de proposer que la RV n'est pas totalement incompatible avec les objectifs éthiques des formes de témoignage par l'entremise des médias. Plus précisément, bien que le penchant de la RV pour les expériences à la première personne mérite d'être critiqué, ce projet démontre comment différents modes d'adresse peuvent être utilisés pour concevoir des formes documentaires qui placent le public dans une position de témoin qui serait respectueuse des sujets représentés et de leurs expériences.Abstract:While virtual reality (VR) has long been recognized for its ability to generate a sensation of presence (e.g., the illusion of \"being there\" in a remote or virtual place), the implications of this illusion merit further consideration. This is especially true in the context of nonfiction storytelling, where VR can lead to what Kate Nash has called \"improper distance.\" How can we make sure that VR's ability to create the impression of presence is used to create an ethically sound witness position? The goal of this article is to argue that VR is not wholly incompatible with the ethical aims of mediated forms of witnessing. Specifically, while VR's penchant for first-person experiences has been criticized, this article demonstrates how different modes of address can be employed to design nonfiction stories that cast the viewer in a more proper witness position.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121287346","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}

{"title":"The Imagination at War: Visionary Poetics in Humphrey Jennings's \"I See London\" and London Can Take It!","authors":"Scott Birdwise","doi":"10.3138/cjfs-2021-0028","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0028","url":null,"abstract":"Résumé:Cet article réévalue l'image convenue du documentariste Humphrey Jennings, passé à la postérité à titre de poète cinématographique de « la guerre du peuple ». On y étudie le contexte poétique visionnaire de son poème \"I See London\", composé pendant la guerre (1941), et de son film London Can Take It! (1940), en contextualisant leur représentation de la vie quotidienne pendant l'urgence nationale que fut le Blitz ; cette contextualisation s'appuie sur les paradoxes qui animent la poétique postsurréaliste déployée par Jennings au sujet de cette guerre du peuple. Nous défendons l'idée que l'apport le plus important de Jennings au moral de l'Angleterre pendant la guerre repose sur la manière dont il affirme la capacité collective de la population à s'adapter aux conditions de guerre totale – conditions extraordinaires qui, comme le montre le cinéaste, possèdent leurs propres éléments (extra)ordinaires de rythme et de routine. Cependant, au lieu de normaliser simplement les paradoxes de l'époque, nous suggérons ici que Jennings fait appel à l'imagination poétique afin de protéger les dimensions historiques et symboliques du mode de vie de la population, évitant ainsi de réduire celle-ci à la position d'objet cible de la destruction.Abstract:This article reconsiders the image of documentary filmmaker Humphrey Jennings that is perhaps best known to posterity—that of the cinematic poet of \"the people's war.\" It discusses the visionary poetic background of Jennings's wartime poem \"I See London\" (1941) and his film London Can Take It! (1940) and contextualizes their representations of everyday life during the national emergency of the Blitz through reference to the paradoxes animating Jennings's post-surrealist poetics of the people's war. The article argues that Jennings's most significant contribution to wartime morale resides in the way in which he affirms the people's imaginative capacity to collectively adapt to the conditions of total war—extraordinary conditions that, as Jennings shows, also possess their own (extra)ordinary aspects of rhythm and routine. Rather than simply normalizing wartime paradoxes, however, the article suggests that Jennings appeals to the poetic imagination to protect the historical and symbolic dimensions of the form of life of the people, thus resisting their reduction to the targeted object of destruction.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121043705","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}

{"title":"Excavating Animal Planet's Lost Tapes: The Unruly Images of a Posthuman Counter-Archive","authors":"Zoë Anne Laks","doi":"10.3138/cjfs-2021-0040","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0040","url":null,"abstract":"Résumé:Cet article explore le point où la cryptozoologie, les études archivistiques et la recherche en éthique animale se rencontrent, pour tâcher de révéler le potentiel théorique de l'image animale soi-disant « rétive ». Relisant attentivement les épisodes de Lost Tapes, série de documenteurs présentée par la chaine Animal Planet (2008–2010), l'article soutient que les images d'animaux résistent aux modes archivistiques de l'utilisation (ou de la réutilisation) et de l'appropriation parce qu'elles résistent à l'activation archivistique. Par leur caractère obstinément factuel, ces images refusent l'appropriation métaphorique pour devenir des chimères animales – elles refusent de représenter davantage que ce qu'elles sont. En tant qu'images d'archives demeurant inertes et immuables, ces images indisciplinées s'opposent aux impulsions archivistiques, tant instrumentales qu'anthropocentriques, et ouvrent, en définitive, une voie vers l'évaluation de la fonction et du potentiel théorique d'une contrearchive posthumaine. Dans cette perspective, les matériaux archivés conservent une relation éthique avec leurs homologues du monde réel, vivants et morts, selon une éthique plus large du soin et de la responsabilité archivistiques.Abstract:This article explores the unique intersection point of cryptozoology, archive studies, and research in animal ethics to draw out the theoretical potential of the so-called \"unruly\" animal image. Through a close reading of Animal Planet's mockumentary television program Lost Tapes (2008–2010), this article argues that images of animals can resist archival modes of (re)use and appropriation through their resistance to archival activation. In their stubborn facticity, such images refuse metaphorical appropriation to become animal chimeras—to stand for more than they are. As archival images that remain inert and immutable, these unruly images work against both instrumental and anthropocentric archival impulses and ultimately offer a path toward evaluating the function and theoretical potential of a posthuman counter-archive. According to such a perspective, archived material maintains an ethical relationship to its living and dead counterparts in the world, according to a wider ethic of archival care and responsibility.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122958267","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}

{"title":"\"Keeping Continuity: Institutional Memory and the FSAC/ACÉC Newsletter\"","authors":"P. Lester","doi":"10.3138/cjfs-2022-0051","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0051","url":null,"abstract":"Résumé:Cette contribution à Ciné-Forum considère l'histoire et le legs de Continuity, le bulletin de la Film Studies Association of Canada/l'Association canadienne d'études cinématographiques (FSAC/ACÉC) publié trimestriellement de 1976 à 2008. Le bulletin a joué un rôle crucial dans les communications internes de l'Association et aidé à préserver la mémoire institutionnelle. Bien que de nombreuses composantes utiles du bulletin, en place depuis longtemps, se sont perdues quand la FSAC/ACÉC a cessé sa publication et déplacé la plus grande part de ses activités en ligne, l'Association, en l'absence du bulletin, a quand même fait preuve de « continuité » dans ses affaires et ses activités.Abstract:This contribution to Ciné-Forum considers the history and legacy of the newsletter of the Film Studies Association of Canada / l'Association canadienne d'études cinématographiques (FSAC/ACÉC), which was published quarterly from 1976 to 2008. The newsletter played a vital role in the intra-organizational communication of the association and helped maintain a sense of institutional memory. Though many valuable ongoing components of the newsletter were lost when FSAC/ACÉC ceased its publication and migrated most of its activities online, the association has nevertheless demonstrated continuity in its affairs and activities in its absence.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129808868","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}

{"title":"Entretien avec la cinéaste Kanienkéhà: ka (Mohawk), Sonia Bonspille Boileau","authors":"Miléna Santoro, Laura Cahier","doi":"10.3138/cjfs-2021-0052","DOIUrl":"https://doi.org/10.3138/cjfs-2021-0052","url":null,"abstract":"Résumé:Dans cet entretien, la cinéaste kanienkéhà:ka (mohawk) et québécoise Sonia Bonspille Boileau retrace, avec humilité et intensité, les origines et les jalons de son parcours dans le cinéma, jusqu'à la sortie de son dernier film, Rustic Oracle (2019). Marqués par la pluralité linguistique et culturelle, ses films sont le reflet de questionnements profonds, à la fois politiques et sociaux, mais également plus personnels et intimes, liés à son identité autochtone et québécoise. Sonia Bonspille Boileau met en lumière le pouvoir de la production cinématographique, comme support pour raconter des histoires depuis le point de vue des autochtones eux-mêmes dans un contexte de marginalisation de leurs récits, mais également pour éduquer et sensibiliser le public aux problèmes complexes que doivent affronter les peuples des Premières Nations au Canada.Abstract:In this interview, Kanienkéhà:ka (Mohawk) and Quebecois film director Sonia Bonspille Boileau traces back with humility and intensity to the origins and milestones of her cinematographic career, up to her most recent movie, Rustic Oracle (2019). Marked by linguistic and cultural plurality, her films reflect deep political and social questionings, as well as more personal and intimate ones stemming from her Indigenous and Quebecois identity. Sonia Bonspille Boileau highlights the power of cinematographic production as a support for narrating stories from an Indigenous point of view, not only in the context where their stories are marginalized, but also to teach and to raise public awareness to the complex problems facing First Nations in Canada.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125754671","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}

{"title":"Salt and Seaweed","authors":"A. Valine","doi":"10.3138/cjfs-2022-0026","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0026","url":null,"abstract":"Tides roll in, onto the shore, bringing with them pieces from the deep. As they roll out again, the shore is scattered with traces of what’s underneath. These curvy lines of absent waves hold evidence of conditions beneath the surface. The ocean is full of information, and it keeps repairing and cleaning and giving back. It has often been a partner in the documentation of history and change. Salt water has been used for almost 100 years in photographic processes. During World War II, seafaring photographers washed their film with sea water, saving the freshwater for drinking. The ocean has long participated in recording images that mark time. In my practice as a filmmaker I am shifting the lens on how one can approach documentation. During the pandemic when I couldn’t get into the darkroom, I went to the shore to film the waves rolling in, both as solace and to be creatively autonomous. I am now immersed in a practice of eco-processing 16mm moving images, developing the film with seaweed and ocean water: collaborating with the sea. I gather ingredients from the place within the camera frame. The seaweed is used as developer and the salt water is the water source for all steps and the final fixative. The results are oceanic self-portraits. The matter within the frame is the same matter that develops the film. The ocean makes its own movie. I explore how organic matter works within these collaborations to challenge traditional hierarchies in filmmaking. I visit and film shorelines near home and across the continent. I note the differences in colour, texture, and tone that are a result of the combined properties of water and seaweed at each location. I’m tracking levels of shoreline toxicity to see if there is a relationship between its condition and the image it gives. In this practice, I’m wondering if the ocean is expressing its health.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122161605","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}

{"title":"Introduction: 100 Years of 16mm in Canada","authors":"L. Czach, H. Wasson","doi":"10.3138/cjfs-2022-0034","DOIUrl":"https://doi.org/10.3138/cjfs-2022-0034","url":null,"abstract":"The essays in this special issue tell a story of possibility and plenitude in Canadian film history. They do so by considering a one-hundred-year-old film format, one constituted by a shifting assemblage of cameras, film stock, projectors, and more. Since the standardization of 16mm in 1923, this family of compatible film technologies has left an expansive and still under-considered impact on cinema, and its institutions and practices. Hundreds of thousands of films have been shot on the gauge, and millions of titles have been printed, circulated, and seen. While often dubbed “small,” we are increasingly learning that there is nothing small about it. The 16mm format enacted a unique technological and aesthetic timeline while enabling vast networks of production, distribution, and presentation, turning any place with a projector into an exhibition venue. Across a seemingly boundless list of uses (educational, experimental, industrial, activism, military, pornography) and venues (living rooms, legion halls, schools, training centres, galleries, underground clubs, hotel rooms), this uniquely influential film format created a complex network that reshaped what it means to make and see a movie.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127690587","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}