{"title":"前言:第1-2期简介","authors":"A. Lambert","doi":"10.1080/17503175.2021.1961389","DOIUrl":null,"url":null,"abstract":"At the end of 2020, I noted (see issue 3, 2020) that the screen sector in the region not only carried people through the darkest moments of an ongoing global pandemic but had continued to work by modifying practices in the processes of both of production and reception. The adaptability, mobility and mutability of images, ideas and material contexts mirrors changes in both understandings and effects:","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":"15 1","pages":"1 - 2"},"PeriodicalIF":0.4000,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2021.1961389","citationCount":"0","resultStr":"{\"title\":\"Moving forward: issue 1–2 introduction\",\"authors\":\"A. Lambert\",\"doi\":\"10.1080/17503175.2021.1961389\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"At the end of 2020, I noted (see issue 3, 2020) that the screen sector in the region not only carried people through the darkest moments of an ongoing global pandemic but had continued to work by modifying practices in the processes of both of production and reception. The adaptability, mobility and mutability of images, ideas and material contexts mirrors changes in both understandings and effects:\",\"PeriodicalId\":51952,\"journal\":{\"name\":\"Studies in Australasian Cinema\",\"volume\":\"15 1\",\"pages\":\"1 - 2\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17503175.2021.1961389\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Australasian Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503175.2021.1961389\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Australasian Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503175.2021.1961389","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
At the end of 2020, I noted (see issue 3, 2020) that the screen sector in the region not only carried people through the darkest moments of an ongoing global pandemic but had continued to work by modifying practices in the processes of both of production and reception. The adaptability, mobility and mutability of images, ideas and material contexts mirrors changes in both understandings and effects:
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