ActivityPub Viewer

A small tool to view real-world ActivityPub objects as JSON! Enter a URL or username from Mastodon or a similar service below, and we'll send a request with the right Accept header to the server to view the underlying object.

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{ "@context": [ "https://www.w3.org/ns/activitystreams", { "ostatus": "http://ostatus.org#", "atomUri": "ostatus:atomUri", "inReplyToAtomUri": "ostatus:inReplyToAtomUri", "conversation": "ostatus:conversation", "sensitive": "as:sensitive", "toot": "http://joinmastodon.org/ns#", "votersCount": "toot:votersCount" } ], "id": "https://g0v.social/users/amokhuxley/statuses/106674594453335423", "type": "Note", "summary": null, "inReplyTo": "https://g0v.social/users/amokhuxley/statuses/106035742582704506", "published": "2021-07-31T09:52:15Z", "url": "https://g0v.social/@amokhuxley/106674594453335423", "attributedTo": "https://g0v.social/users/amokhuxley", "to": [ "https://www.w3.org/ns/activitystreams#Public" ], "cc": [ "https://g0v.social/users/amokhuxley/followers" ], "sensitive": false, "atomUri": "https://g0v.social/users/amokhuxley/statuses/106674594453335423", "inReplyToAtomUri": "https://g0v.social/users/amokhuxley/statuses/106035742582704506", "conversation": "tag:g0v.social,2021-04-09:objectId=5801717:objectType=Conversation", "content": "<p><a href=\"https://theinitium.com/article/20210731-culture-hooligan-boy-and-girls-in-early-hk-movies/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" translate=\"no\"><span class=\"invisible\">https://</span><span class=\"ellipsis\">theinitium.com/article/2021073</span><span class=\"invisible\">1-culture-hooligan-boy-and-girls-in-early-hk-movies/</span></a></p><p>// 自中國新文化運動反封建腐化、提倡「現代」情感自由、主張獨立自強,青年成爲革命與社會創新的代言人。香港五十年代左派電影企圖挪用及重新詮釋五四,電影中的年輕人常常是善良、正義、進步的載體,電影的核心關注是要擺脫舊社會//</p><p>// 再一次,前現代被呈現爲萬惡之源,窒礙社會進步並製造跨代的悲劇,只有青年男女是社會向前走的希望;「飛」,也就是希望的展現。//</p><p>// 但香港電影中的反叛青年再現,到了六十年代末,卻出現180度的轉變。</p><p>1969年香港警隊獲英女皇賜予皇家封號,表楊其在「暴動」中的忠誠及勇敢表現。六十年代末的電影,開宗明義向建制靠攏,如邵氏的《死角》(1969,張徹)、《春火》(1970,羅臻) 均強調以國家暴力圍剿反叛青年的正當性,形塑成維護法紀及治安的必須手段。//</p>", "contentMap": { "zh": "<p><a href=\"https://theinitium.com/article/20210731-culture-hooligan-boy-and-girls-in-early-hk-movies/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" translate=\"no\"><span class=\"invisible\">https://</span><span class=\"ellipsis\">theinitium.com/article/2021073</span><span class=\"invisible\">1-culture-hooligan-boy-and-girls-in-early-hk-movies/</span></a></p><p>// 自中國新文化運動反封建腐化、提倡「現代」情感自由、主張獨立自強,青年成爲革命與社會創新的代言人。香港五十年代左派電影企圖挪用及重新詮釋五四,電影中的年輕人常常是善良、正義、進步的載體,電影的核心關注是要擺脫舊社會//</p><p>// 再一次,前現代被呈現爲萬惡之源,窒礙社會進步並製造跨代的悲劇,只有青年男女是社會向前走的希望;「飛」,也就是希望的展現。//</p><p>// 但香港電影中的反叛青年再現,到了六十年代末,卻出現180度的轉變。</p><p>1969年香港警隊獲英女皇賜予皇家封號,表楊其在「暴動」中的忠誠及勇敢表現。六十年代末的電影,開宗明義向建制靠攏,如邵氏的《死角》(1969,張徹)、《春火》(1970,羅臻) 均強調以國家暴力圍剿反叛青年的正當性,形塑成維護法紀及治安的必須手段。//</p>" }, "attachment": [], "tag": [], "replies": { "id": "https://g0v.social/users/amokhuxley/statuses/106674594453335423/replies", "type": "Collection", "first": { "type": "CollectionPage", "next": "https://g0v.social/users/amokhuxley/statuses/106674594453335423/replies?min_id=106674595210416710&page=true", "partOf": "https://g0v.social/users/amokhuxley/statuses/106674594453335423/replies", "items": [ "https://g0v.social/users/amokhuxley/statuses/106674595210416710" ] } }, "likes": { "id": "https://g0v.social/users/amokhuxley/statuses/106674594453335423/likes", "type": "Collection", "totalItems": 1 }, "shares": { "id": "https://g0v.social/users/amokhuxley/statuses/106674594453335423/shares", "type": "Collection", "totalItems": 0 } }