JCMS-Journal of Cinema and Media Studies最新文献

{"title":"The Western through a Monocle: Fritz Lang's Examination of Western Mythology","authors":"Justin J. Roberts","doi":"10.1353/cj.2023.a910939","DOIUrl":"https://doi.org/10.1353/cj.2023.a910939","url":null,"abstract":"abstract: In his Westerns The Return of Frank James (1940), Western Union (1941), and Rancho Notorious (1952), director Fritz Lang interrogated Western genre tropes. By examining the theatricality of Westerns, the presentation of Native Americans in Westerns, and the frames used by Western storytellers, Lang questioned the nature of Hollywood Westerns. Later filmmakers, particularly Sergio Leone and Clint Eastwood, have shown their debt to Lang's films by alluding to them in their own films.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sirens of Modernity: World Cinema via Bombay by Samhita Sunya (review)","authors":"","doi":"10.1353/cj.2023.a910945","DOIUrl":"https://doi.org/10.1353/cj.2023.a910945","url":null,"abstract":"Reviewed by: Sirens of Modernity: World Cinema via Bombay by Samhita Sunya Rakesh Sengupta (bio) Sirens of Modernity: World Cinema via Bombay by Samhita Sunya University of California Press. 2022. 270 pages. $34.95 paper; also available in open access e-book. The globality of Hindi cinema is often an anecdotal entry point into alternative internationalisms. When Indians based in cosmopolitan spaces of the Global North strike up a conversation with fellow emigrants from Africa, Central Asia, Eastern Europe, or the Middle East, the discussion is likely to revolve around their mutual fondness for Hindi cinema, its stars, and its songs. Oral and anecdotal histories of Hindi cinema's popularity in non-Anglophone parts of the world abound in such multicultural encounters in the West. Nonetheless, these auto-ethnographic accounts rarely inform the theoretical basis for research in film studies where the influence of Holly-wood, European arthouse, and international festival cinema largely continues to obscure other transnational flows and fandoms. Samhita Sunya's recent book, Sirens of Modernity: World Cinema via Bombay, addresses this lacuna, one sustained by archival challenges as well as scholarly disdain for Hindi cinema's formal, capital, and libidinal excesses.1 Understandably, Sunya's book returns to some of the foundational concepts and theories of film studies to reorient our understanding of how ideas of world cinema, cinephilia, gender, excess, and circulation might operate and interrelate outside of a bipolar world order. At the very outset, Sunya deploys an eccentric Hindi song called \"Akira Kurosawa\" to tease out broader [End Page 190] questions about Hindi cinema's contemporaneity with postwar art cinema in the 1960s while also inquiring into its political accountability as a mass cultural form.2 The transnational and the regional are mutually constitutive vectors operating in the backdrop of Cold War–era worldmaking as well as secessionist movements in postcolonial India. Sunya also discusses the traffic of ideas across the Bombay and Madras film industries in that decade, which anticipates the rest of the book's investment in the underexplored traffic of personnel, capital, and technology across these regional industries. In chapter 1, Sunya opens the discussion of world cinema through \"problems and possibilities of distribution in translation,\" with a critical emphasis on how the category of world cinema excluded commercial Indian films despite their extensive circulation in \"not only the Indian Ocean regions of East Africa, the Persian Gulf, and Southeast Asia but also Fiji, the Caribbean, Central Asia, West Asia, North Africa, Eastern Europe, and East Asia.\"3 The constricted geography of world cinema, Sunya argues, was a result of \"auteur-derived nationality and unity\" as well as \"racialized, (neo)colonial hierarchies\" of spectatorship.4 The idealization of film spectators as literate and cosmopolitan was adopted in reformist state di","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Manifest Documentary","authors":"Rijuta Mehta","doi":"10.1353/cj.2023.a910938","DOIUrl":"https://doi.org/10.1353/cj.2023.a910938","url":null,"abstract":"abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, \"The Great Migration,\" reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spotlight: Gender and Feminisms Caucus","authors":"Rebecca Harrison, Morgan Bimm","doi":"10.1353/cj.2023.a910935","DOIUrl":"https://doi.org/10.1353/cj.2023.a910935","url":null,"abstract":"Spotlight:Gender and Feminisms Caucus Rebecca Harrison (bio) and Morgan Bimm (bio) We write this article during a period of crisis for people marginalized by gender around the world. Women and their allies in Iran face state-sanctioned violence in protests that respond to the killing of Mahsa Amini by morality police.1 In Afghanistan, the Taliban has banned women and girls from accessing high school and university education.2 Last year, scores of Indigenous women activists, including Sandra Liliana Peña Chocué, were murdered by political opponents in South and Central America.3 The Supreme Court of the United States has overturned the federal right to access medical abortion. In the UK, police officers commit gender-based violence with impunity, refugees are denied safe passage, and a quarter of women live in poverty.4 The fierce backlash against the #MeToo movement—#WoYeShi in China, #ArewaMeToo in Nigeria—has been felt around the globe. [End Page 1] Moreover, as scholars and practitioners of media, it's impossible for us to ignore the intersectional oppressions that erase women's voices in the industries that we study, the texts that we analyze, and the places that we work. Shabana, a journalism student in Afghanistan, described how her \"heart was shattered\" on being denied a career as a newscaster.5 India Willoughby has spoken about the threats she faces as the UK's first publicly trans newscaster.6 Heads of department in India's film industry are 90 percent male.7 Only 24 percent of creatives in major roles in Hollywood are women.8 Of the 22,000 professors in UK universities, only forty-one are Black women; 68 percent of researchers are on fixed-term contracts.9 These are the outcomes of divisive and cruel systems. These are not conditions in which solidarity is meant to thrive between people of different gender, race, ethnicity, sexuality, class, disability, age, immigration status, language, or culture. Yet across our scholarly and industry networks, solidarity persists. Within the Society for Cinema and Media Studies (SCMS), many of us have found a home in the Gender and Feminisms Caucus (formerly the Women's Caucus), which fosters community and encourages us to enact care. As one of the first SCMS caucuses, it has played a significant role in supporting members marginalized by gender. At a critical moment in our collective fight for a more just world, we reflect on the caucus's past achievements and look to its future. the women's caucus: building a foundation The caucus was originally founded in 1994 \"to promote parity for women's intellectual and practical work in film, TV, and video.\"10 Over the years, the Women's Caucus made many achievements. Co-chairs set up an innovative mentorship program that provided graduate students and early career faculty with opportunities to learn from more experienced colleagues. It was (as far as we can tell) the first caucus to offer an annual graduate student writing prize, established in 2015 by Shell","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Atmosphere: Mexican Extras and the Production of Race in Silent Hollywood","authors":"Laura Isabel Serna","doi":"10.1353/cj.2023.a910940","DOIUrl":"https://doi.org/10.1353/cj.2023.a910940","url":null,"abstract":"abstract: This essay focuses on Mexican extras in silent era Hollywood. Rather than attempting to write an authoritative history of their work, I use accounts of Mexican extra work to explore how silent era Hollywood's production practices made race. Mexican extras, I explain, were perceived as another amenity offered by the industry's new home in Southern California, important for producing certain types of narratives but materially and discursively relegated to the margins of the industry. Their presence, on-screen and in the trade press, however, was central to the production of racial difference in on-screen narratives and in social life.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Reading Too Much into It\": Affective Excess, Extrapolative Reading, and Queer Temporalities in MCU Fanfiction","authors":"Maghan Molloy Jackson","doi":"10.1353/cj.2023.a910958","DOIUrl":"https://doi.org/10.1353/cj.2023.a910958","url":null,"abstract":"abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of \"excessive reading\" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of \"straight time.\" I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction's utility in imagining queer utopian temporalities through the practice of \"reading too much into\" extant narrative media texts.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Homecoming, Border-Crossing, and Conjuncture Film: Hsia Moon, Hong Kong New Wave, and the Bluebird Trilogy, 1982–1984","authors":"Ying Xiao","doi":"10.1353/cj.2023.a910942","DOIUrl":"https://doi.org/10.1353/cj.2023.a910942","url":null,"abstract":"abstract: This article examines Hsia Moon and her momentous transition from a celebrated movie star emblematic of the Hong Kong leftist cinema in the 1950s and 1960s to a prescient and resourceful producer who returned to the film circle and founded Bluebird Movie Enterprises to produce three important pieces in 1982 to 1984: Touben nvhai ( Boat People , Ann Hui), Zigu yingxiong chu shaonian ( Little Heroes , Mou Dunfu), and Sishui liunian ( Homecoming , Yim Ho). Through a close analysis of the film texts and production background alongside an original research of the historical documents and interviews with the filmmaker, I argue that Hsia Moon's Bluebird productions, ephemeral but highly influential, serve as conjuncture films at the crossroads of the post–Cold War and Sino-British negotiation era.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Underground: The Secret Life of Videocassettes in Iran by Blake Atwood (review)","authors":"","doi":"10.1353/cj.2023.a910959","DOIUrl":"https://doi.org/10.1353/cj.2023.a910959","url":null,"abstract":"Reviewed by: Underground: The Secret Life of Videocassettes in Iran by Blake Atwood Hatim El-Hibri (bio) Underground: The Secret Life of Videocassettes in Iran by Blake Atwood The MIT Press. 2021. 264 pages. $35.00 paper; also available in e-book. Underground: The Secret Life of Videocassettes in Iran examines how videocassettes wound their way through everyday life in Iran, making a profound impact on the media landscape. The book shows how the official ban on the medium, enacted in 1983 during the Iran-Iraq War (1980–1988) and unevenly enforced until it was lifted in 1994, led to the flourishing of informal video distribution. Author Blake Atwood presents a compelling account of the lived textures of video's clandestine-yet-ubiquitous presence through oral history—interviews with former video dealers, filmmakers, former government employees, and people from many walks of life who fondly remember video's heyday. Underground expands current debates in the study of media distribution, infrastructure studies, and the material culture of media by analyzing how this technological format negotiated, circumvented, and repurposed state policy and the affordances of the medium. Beyond the novelty of its topic—this is the first scholarly monograph on the subject in English—the book's methodological approach and conceptual framing also result in an original contribution to the literature on Iranian and Middle Eastern media. The book takes the reader into Iran's underground network through five chapters that examine a facet of its operation. Rather than a chronological ordering, the first four chapters examine a different dimension of the long decade of 1983 to 1994 (when the ban was officially in place). While each [End Page 181] chapter reflects on the contemporary moment, the final chapter is more fully focused on how this period continues to inform the present. This structure allows for in-depth consideration of how state regulations (including the lead up to the 1983 ban) impacted existing media institutions and the nascent video industry (chapter 1), the material and human working of the distribution network (chapter 2), the labor and aspirations of video dealers (chapter 3), and the effect of evolving relations between public and private spaces on home viewing and the place of the VCR and videocassettes in mediating the relationship between them (chapter 4). This is followed by a sustained examination of how the memory of the underground manifests in the cultural afterlife of videocassettes in the 2010s and is directly thematized in contemporary culture (chapter 5). These chapters are bracketed by a teachable introduction and a coda, which ruminates on the role that a non-Iranian researcher can play in entering into a dialogue with people whose lives were and continue to be directly impacted by the videocassette ban. Underground's contribution rests in its weaving together of more than forty interviews with archival sources and extensive fieldwork, s","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey, and: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz (review)","authors":"","doi":"10.1353/cj.2023.a910946","DOIUrl":"https://doi.org/10.1353/cj.2023.a910946","url":null,"abstract":"Reviewed by: Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey, and: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Ethan Tussey (bio) Netflix Recommends: Algorithms, Film Choice, and the History of Taste by Mattias Frey University of California Press. 2021. 282 pages. $85.00 hardcover; $29.95 paper; also available in e-book. Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand by Amanda D. Lotz Polity Press. 2022. 224 pages. $64.95 hardcover; $22.95 paper; also available in e-book. The schadenfreude that accompanied the news of Netflix missing its quarterly subscriber projections in the spring of 2022 represented an unusually boisterous public reaction to a stockholder meeting.1 For many observers, this served as a landmark moment in the streaming wars (the nickname for the perceived competition between subscription streaming platforms), a sign that [End Page 194] Netflix's meteoric rise could decelerate. It has been a decade since Netflix disrupted the status quo in the media industries by transitioning its video-rental company into a streaming media platform. In that time, anxious industry onlookers and internet utopians have wondered what the new normal would mean. Fueled by financial speculation, subscriber growth had been the metric of success for Netflix, but the drop in stock valuation shifted Netflix's focus to revenue and the launching of an advertising-supported tier.2 Netflix promised to revolutionize the entertainment industry, but subscription tiers and advertising breaks feel eerily familiar to those of us who remember a time before streaming. Has Netflix really changed the media industries? Answering that question are two new books on the streaming company that can help us assess the effects of the first decade of the streaming era. The more recent of the two, Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand, comes from one of the key voices on the subject, Amanda Lotz. Throughout her career, Lotz has demonstrated a keen ability to make the murky waters of streaming clearer by providing terminology, schemas, and resources for analyzing digital disruption, the global proliferation of services, and the historic antecedents for these platforms.3 Her latest work strives to correct several assumptions including two opposing points of view: that everything or nothing has fundamentally changed in the streaming era. Instead, Lotz convincingly contends that streaming media platforms, and Netflix especially, have distinct characteristics that must be considered when cataloging continuity and change. These distinctions become clear when one stops applying what Lotz calls the \"hegemony of linear norms\" to evaluations of Netflix.4 These norms have been carried over from the broadcast television era, such as the belief that the goal of programming is to gain the largest audience/ratings, that programming ","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spotlight: Marisa Hicks-Alcaraz","authors":"Angela J. Aguayo","doi":"10.1353/cj.2023.a910936","DOIUrl":"https://doi.org/10.1353/cj.2023.a910936","url":null,"abstract":"Spotlight:Marisa Hicks-Alcaraz Angela J. Aguayo Click for larger view View full resolution [End Page 5] Marisa Hicks-Alcaraz is a distinguished post-doctoral research associate at the University of Illinois, Urbana-Champaign. As a transdisciplinary scholar, she brings together digital race and ethnic studies, media arts practice and curation, liberationist political thought, US Latin American and Caribbean diasporic studies, intersectional feminism, and grassroots archival praxis. Her research aims to decenter Western ways of knowing and challenges extractivist and neoliberal practices by adopting a relational framework for publicly engaged scholarship. Her most recent projects focus on partnerships that support the remixing of personal archives to reclaim our stories and the recovery of independent filmmaking created by US-based Latinas in the Latina Film Recovery Project. Marisa received her PhD in Cultural Studies from Claremont Graduate University and MA in Cinema Studies from New York University. Interview by Angela J. Aguayo, an associate professor in the Department of Media and Cinema Studies at the University of Illinois, Urbana-Champaign. Angela J. Aguayo: Your current research is an innovative program of scholarship and community archiving focused on digital preservation and challenging the assumptions of its capitalist-colonial worldview. This scholarship involves an engaged practice of collaborating with communities on digital preservation of undocumented histories, foregrounding the stories and archives of underrepresented and misrepresented people. In using this framework, how do we avoid replicating the power dynamics we aim to dismantle? Marisa Hicks-Alcaraz: To do this, we need to keep looking critically at our own interventions. It's important to recognize that in navigating and negotiating dominant knowledge systems, we may inevitably reproduce the very parts of colonialism and capitalism that we have already identified as violent and in need of change. A part of this process is acknowledging the significant power differentials between ourselves and community partners and surrendering our power to work effectively and ethically. To me, this means showing humility and vulnerability. It means being conscious of my actions, owning up to my mistakes, and making plans to prevent future mistakes. And it means committing to nourishing the kinds of skills that involve consistent and repeated actions of respect, trust, and honest communication to form meaningful and flourishing relationships. This may not necessarily be a solution, but it can be a step forward. Aguayo: Your writing has appeared in the International Journal of Information, Diversity, & Inclusion; Feminist Media Histories; Interdisciplinary Digital Engagement in Arts & Humanities; and Reviews in Digital Humanities. The research questions you propose in these projects are essential to media and cinema studies: How does a critical analysis of power provide an understanding ","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135738296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}