JOURNAL OF FILM AND VIDEO最新文献

{"title":"The Dance Company Film","authors":"Pamela Krayenbuhl","doi":"10.5406/19346018.74.1.2.06","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.06","url":null,"abstract":"©2022 by the board of trustees of the university of illinois public-facing dance media have been widely available for decades. Examples include the dance-heavy movie musicals of the 1930s–50s, competition and reality television shows like So You Think You Can Dance, and games like Dance Dance Revolution. All of these have been the subjects of inquiry for media scholars seeking to understand not only the kinds of meaning-making in which these artifacts engage, but also how dance is involved in the process.1 However, both the general public and media scholars are less familiar with media created by and for “the dance world” itself. These are normally documentary-style moving-image media consisting primarily of rehearsal or performance footage, originally created for a range of utilitarian purposes: to learn and teach choreography, to evaluate performance quality, to keep an archive of finalized dance works. Indeed, video has become a crucial tool for dancers, largely replacing written notation as a means for preserving choreography. Many dance documentation films are ephemeral—they are recorded over, deleted, discarded, or otherwise lost after their immediate utility fades. However, in some cases they are collected, preserved, and thus available for analysis. In what follows, I conduct a foray into the largely untouched and unstudied archives of such moving-image dance recordings. They have slipped through the cracks of film and media studies because they are not well known outside of the dance world; meanwhile, most dance scholars have evaluated them primarily in terms of their effectiveness as faithful records of performance events or as notations intended for restaging.2 What has therefore been overlooked in the surface-level treatment of dance documentation films is the potential for them to reveal something about their creators and the institutions they represent. Indeed, I would like to suggest that while these recordings ostensibly serve a documentary or notation-like purpose, they are perhaps even more fruitful objects of study when considered as vehicles for (re)producing professional dance institutions and practices, as dance company films. I define the dance company film as a moving-image recording that is produced specifically by or for a dance company. Thus, I wish to locate the dance company film among an array of related nontheatrical film practices: it has a great deal in common with several types of what Charles R. Acland and Haidee Wasson call “useful cinema,” such as industrial film and educational film, but it also resembles documentary film and sometimes even home movies in its rhetorics.3 While each of these cinematic modes is discrete, in my discussion of dance company film, I demonstrate how each is present to varying degrees in this hybrid form. I argue that dance company film, like the rest of useful cinema, “has as much to do with the maintenance and longevity of institutions seemingly unrelated to cinema as it does pamel","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"61 - 77"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45899451","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}

{"title":"Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority","authors":"Jeff Rush","doi":"10.5406/19346018.74.1.2.08","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.08","url":null,"abstract":"©2022 by the board of trustees of the university of illinois more than thirty years after Robert Rosenstone wrote the preceding words in 1988, the historian and film scholar’s critique still describes the contemporary fact-based drama and its subset, the docudrama, a factbased drama about public events, upon which this article will focus. What might be called traditional docudramas include films such as The Post (Steven Spielberg, 2017), Apollo 13 (Ron Howard, 1995), Hotel Rwanda (Terry George, 2004), and Argo (Ben Affleck, 2012). These traditional docudramas represent past events and characters as though they are fully known and knowable, their narrative transparent, and they present their “single interpretation” of history with unacknowledged authority and omniscience. As Rosenstone notes, these films not only dismiss historical alternatives but also present their factual story worlds and characters with the same certainty as do well-made fictional scripts. Steven Spielberg’s The Post, for instance, dramatizes how the publishing of the Pentagon Papers led to the Watergate break-in, a line of historical causality that is factually ambiguous,1 with the same authority with which a horror film such as Get Out (Jordan Peel, 2017) dramatizes how the zombified black characters in the Armitage household have been transformed by unwilling brain transplantation. There is a small subset of docudramas, however, that use more tentative rhetorical techniques to tell fictional stories while also raising questions of how we understand the past. This article will call such films “cracked docudramas”2 because they retain traces or suggestions of how their creators came to know and represent history. Films such as BlacKkKlansman (Spike Lee, 2018), Foxcatcher (Bennett Miller, 2014), Jackie (Pablo Larrain, 2016), The Favourite (Yorgos Lanthimos, 2018), and I, Tonya (Craig Gillespie, 2017) are cracked through their formal strategies; using unsettling or unresolved textual elements, they hint from the inside at what informed their making from without. Their intentionally disquieting constructions point the viewer to alternative histories that linger ghost-like behind the specific interpretations that their creators have chosen, offering hints of the more open representation that Rosenstone encourages. In questioning how we know the past, cracked docudramas are associated with historical metafiction, one of the dominant narrative styles of twentieth-century postmodernism. However, unlike in the most inventive or Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"109 - 96"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43427034","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}

{"title":"Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist in The East","authors":"Mónica Martín","doi":"10.5406/19346018.74.1.2.02","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.02","url":null,"abstract":"©2022 by the board of trustees of the university of illinois in the east (2013), actor Brit Marling plays Jane Owen, a young and ambitious private intelligence operative who has infiltrated an underground environmentalist organization that threatens the interests of polluting corporations. As Sarah Moss—the drifter alter ego Jane plays to get access to the eco-activists’ hideout—the protagonist will embark on an eye-opening doppelganger experience that shakes her ideological principles. Her ecoutopian conversion can be read under the light of the rising discredit of a “neoliberal rationality” that economized existence and democracy (Brown 10)—a demystification of individualist, exploitative, and competitive “hunter” logics (Bauman, Liquid Times 100–03) that runs parallel to a paradigm shift “from an unquestioned anthropocentric perspective to an ecocentric one” (Willoquet-Maricondi 5). The following pages examine the three stages of Jane’s ontological transformation in the movie: first, her everyday life as a workaholic citizen comfortably settled in the neoliberal status quo; then her undercover time with eco-activists in the underground organization The East, when she learns about the art of cooperation and develops an environmental consciousness; and last, Jane’s eco-utopian turn after breaking with her former lifestyle and committing to a sustainable future. As will be argued, the film formally supports Jane’s post-neoliberal eco-utopian turn, holding that green transformative agendas require the integrating and nurturing methodological perspectives of ecology rather than utilitarian violence and counter-power dialectics.","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"19 - 27"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47047182","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}

{"title":"Violence against Women and Girls: Female Filmmakers Critique the Menace","authors":"Joyce Osei Owusu","doi":"10.5406/19346018.74.1.2.07","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.07","url":null,"abstract":"the global fight against gender inequality and social injustice has grown steadily, and after many years of dedication, it has become indisputably a priority for global and national development that is reshaping policies and decision-making. The integration of the agenda for gender equality and women’s and girls’ empowerment with Ghana’s national development efforts has yielded some modest progress.1 For example, the enactment of various laws and policies has increased girls’ access to education. As a result, there are now more girls than boys in primary schools (Florence Muhanguzi 6), and there is growth in the number of women engaged in the workforce as entrepreneurs (Entsie). Regardless of these gains, new and complex forms of genderbased violence are emerging in the current technology-mediated digital environment. Examples of these are various forms of cyberviolence and cyberbullying. Besides, some age-old forms of violence against women and girls (VAWG), such as sexual assault, sexual exploitation, rape, domestic violence, female genital mutilation (FGM),2 witchcraft accusations against women, ritual servitude known as Trokosi,3 and child marriages, have persisted for centuries. Ghana’s government enshrined its commitment to women’s rights in its 1992 constitution—specifically covering protection of fundamental human rights and freedom, right to life, personal liberty, respect for human dignity, protection from slavery and forced labor, protection from discrimination, and protection of the rights of women and children. Ghana also ratified several international human rights instruments, including the 1979 Convention on the Elimination of All Forms of Discrimination against Women (CEDAW), the 1995 Beijing Platform for Action, the 2000 Millennium Development Goals, the 2003 Maputo Protocol, the 2004 African Union Solemn Declaration on Gender Equality in Africa, and the 2015 Sustainable Development Agenda, to defend the principles of gender equality and social justice for women and girls. These international and regional agreements have informed the formulation of national policies such as the National Gender Policy and Justice for Children Policy to provide comprehensive frameworks to respond to entrenched social injustices that undermine equity for women and girls. They also led to the institutionalization of, for example, the Ministry of Women and Children’s Affairs in 2001, now called the Ministry of Gender, Children and Social Protection, tasked to drive policy change and contribute to national growth by achieving equality and equity for all. Certainly, commitments to addressing gender inequality and various forms of genderbased violence are evident, even though more Violence against Women and Girls: Female Filmmakers Critique the Menace","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43240439","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}

{"title":"Stranger Things, Nostalgia, and Aesthetics","authors":"Zachary Griffith","doi":"10.5406/19346018.74.1.2.01","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.01","url":null,"abstract":"for making costumes using Eggo boxes. Eggo also bought billboards across the country in cities named Hawkins, the fictional town in which the series is set. These billboards featured the Eggo logo with blood dripping from the E—a nod to Eleven’s frequent nosebleeds. This marketing effort culminated in two larger releases. In June, Eggo claimed to have unearthed a series of unreleased advertisements from 1985 featuring hidden teasers related to the show, which they subsequently posted across social media platforms. Following this, the company also created limitededition boxes replicating the look of the ones they sold in the 1980s—identical save for the “Limited Edition 1985 Graphics” label at the top. These retro Eggos initially were available only online through Amazon but saw a larger release in select stores across the United States following the series’ July 4 debut. The latter two examples, the ads and the box, provide an acute illustration of the hyperaestheticized nostalgia for which Stranger Things is the archetype. The ads, for instance, hinge on a nostalgia for consumer products and advertising that is entirely mediated and thus based on the recreation of an aesthetic object; the nostalgic allure of the ads, in other words, derives from their replication of the style of 1980s ads. Grainy visuals and tape distortions blanket one video showing a “typical” middle-class suburban breakfast table featuring milk, orange juice, and of course, Eggos before cutting to a screen that reads “One Eggo Can Change Everything.” These visual imperfections exist even though in the summer of 2019, the Netflix series Stranger Things (2016–present) partnered with Eggo for a marketing campaign in the build-up to the release of its highly anticipated third season. The show, which follows a group of teens and adults in small-town 1980s Indiana as they struggle to keep at bay a succession of supernatural forces unleashed following the opening of a portal to an alternate dimension, was a surprise hit following its 2016 premiere, and it quickly became the streaming service’s most recognizable original production. Eggo waffles—a favorite of Eleven, one of the show’s teen protagonists—had seen a surge in sales following the show’s premiere and gained iconic status within its fandom, so a partnership capitalizing on the hype represented a logical next step. The two franchises had previously collaborated on a trailer for the series’ second season, which premiered during Super Bowl LI, in which a vintage “L’eggo my Eggo” commercial was progressively interrupted and eventually overtaken by scenes from show’s upcoming season. The much more elaborate 2019 campaign featured a variety of tie-ins, including an Eggobranded Stranger Things spoiler blocker for fans’ internet browsers, recipes tied to each of the upcoming nine episodes, and instructions","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"18 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47011709","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}

{"title":"\"This Is What's Real\": The Pathology of Black Addiction in the Hood Films of the 1990s","authors":"Curt Hersey","doi":"10.5406/19346018.74.1.2.03","DOIUrl":"https://doi.org/10.5406/19346018.74.1.2.03","url":null,"abstract":"©2022 by the board of trustees of the university of illinois three decades ago, a group of blackdirected films began to appear in theaters, addressing issues of over-policing and social justice. These “hood films,” as they came to be called, were directed almost exclusively by young African American men and challenged media discourses about black lives, the inner city, and the causes of poverty and violence. From 1991 to 1995, over twenty films were released as part of the hood-film cycle. The genre focuses on the lived experiences of African Americans in the inner city and emphasizes aspects of black culture. Keith M. Harris grounds the genre as part of a larger shift in black aesthetics, arguing that the films “recode the existing coding of blackness, informing the symbolic with the social and culture sensibilities of black culture, Afrocentrism and the everyday experiences of black people” (94). Despite crafting nuanced narratives that pushed back against stereotypes in dominant culture, hood films surprisingly replicated rhetoric around one of the most enduring vilifications of black neighborhoods: drug addiction. In the hood films addiction is treated as both symptom and cause of crime and poverty. Blame is conferred on the addicts themselves and street-level dealers, with the films mostly hiding the architecture and hierarchy of criminal enterprises that reach beyond the confines of the inner city. Cultural critics have long maintained that films and other media play a role in constructing popular concepts of minority groups. Robin R. Coleman, for instance, argues, “African Americans and Blackness have, in part, become defined within the symbolic media culture and hence are a product of American mass media” (3). Scholars argue that the representation of groups within the media impacts public perception of those groups. The media create a shared concept of minorities through the “transmission and maintenance of cultural identity,” which is then reinforced and identified as “truth” (Ross xix). Such critics rightly contend that these representations must be examined and deconstructed to identify the political and social ideology they contain. In fact, one of the main qualities attributed to the hood genre was realism. The films attempted to function almost as ethnographies. The tagline for the film Menace II Society sums up this impulse: “This is the truth. This is what’s real.” Through textual and discursive analysis, this present study analyzes how key hood films show “what’s real” when it comes to the representation of black addiction.1 For the purposes of this study, I address four films from the hood genre that prominently feature addicts and addiction: Boyz n the Hood (1991), New Jack City (1991), Menace II Society (1993), and Clockers (1995). The first three films met with significant box office success and, as a result, can be presumed to have had a greater effect on constructing popular perception. The film Jungle Fever (1991) appeare","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"74 1","pages":"28 - 39"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45480281","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}

{"title":"Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism","authors":"Max Tohline, Sun Yi, Anthony L. Silvestri, Daniel Maddock","doi":"10.5406/jfilmvideo.73.4.0003","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.4.0003","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"14 - 15 - 28 - 29 - 3 - 43 - 44 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45433822","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}

{"title":"What Is Cinematography in the Age of Virtual Film Production? Posing a New Definition for the Practice of Cinematography","authors":"Daniel Maddock","doi":"10.5406/jfilmvideo.73.4.0044","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.4.0044","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"44 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41829882","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}

{"title":"Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond","authors":"Sun Yi","doi":"10.5406/jfilmvideo.73.4.0015","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.4.0015","url":null,"abstract":"genres and the cultural myths they embodied “exhaust[ed] themselves” (578). Cawelti’s theory was developed (e.g., Collins) and widely contested. Major criticisms, exemplified by the work of Janet Staiger, Rick Altman, and Steve Neale, questioned the concept of genre blending by rejecting the hypothesis of genre purity underpinning Cawelti’s claim; the authors contributed to the growing consensus that films are more or less instances of genre blending, which is a standard practice in a system like Hollywood. Such criticisms have not denied altogether the phenomenon of genre blending in practical terms—genre is a practical concept after all—and the fact that genre blending has become a particularly salient feature in certain films at specific historical moments provides a potentially fruitful site for understanding film history and the sociocultural milieu in which it occurs. The criticisms have mounted ontological and epistemological challenges, such as the theoretical futility of seeking purity in genres and the implausibility of neatly demarcating (hybrid) genres. Most criticisms, however, have invariably underemphasized an axiological aspect of Cawelti’s theory. At the very end of his seminal essay, Cawelti made a value judgment—namely, that transformations within a traditional genre tend to produce “the highest artistic accomplishment” (579), without expounding why genre blending necessarily leads to achievement or progress in artistic terms. The conclusion was likely drawn more from the revolutionary films he chose as case studies than from a deduction of the generic john cawelti’s influential essay “Chinatown and Generic Transformation in Recent American Films,” published in 1979, ignited considerable scholarly attention and debate on the issue of genre blending in cinema. Significantly, there emerged an enduring dichotomy between genre blending as exhaustion and genre blending as evolution in understanding the practice, which I will explicate in the first pages. In my research on a series of posthandover Hong Kong films, however, I find neither the creative exhaustion nor the artistic evolution model adequate to depict and explain the phenomenon of genre blending. A focused analysis of a group of hybrid films from Hong Kong, especially of the characterization of protagonists, illustrates that they exhibit a tendency that can rather be described and comprehended using the anthropological concept of “involution.” A sociohistorical and psychocultural account of involution, in particular, provides a penetrating insight for understanding the occurrence of what I call “generic involution” in the context of Hong Kong cinema over the past two decades. Through an analysis of Chinatown (1974) and a few other titles, Cawelti in his essay suggested a pronounced tendency toward genre transformation in 1970s Hollywood films, which was marked by the blending of traditional genres with external elements. For him, genre blending resulted because the traditi","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"15 - 28"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44945915","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}

{"title":"Kenneth Anger and the Filmed-Archive Reenactment","authors":"Anthony L. Silvestri","doi":"10.5406/jfilmvideo.73.4.0029","DOIUrl":"https://doi.org/10.5406/jfilmvideo.73.4.0029","url":null,"abstract":"","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"73 1","pages":"29 - 43"},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47708295","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}