Academic literature on the topic 'Chalan bil'

Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient. Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros’ permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK’s ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking. This book proposes that the ways in which big-budget films are made across an array of seemingly dissociated sites exemplify the principles of supply chain production. Chapter 1 examines how supply chain cinema routes through wherever is most amenable and economical in order to take advantage of government support, tax incentives, customized infrastructures, logistical efficiencies, transnational standardization and coordination in tandem with sectional, fragmented and project-by-project reconfigurations of precarious labour. Chapter 2 investigates why Hollywood giants elect to make more of their films in Britain than in the USA, availing themselves of the UK’s ambitions to enlarge its creative economies, which have rendered the workforce all the more keenly adapted to the structures and demands of blockbuster moviemaking. Chapter 3 explores how the film industry, in concert with the UK government, has massaged filmmaking education to fit its needs. Chapter 4 assesses how the United Arab Emirates (UAE) has geared up its creative economy policy and education systems, largely through English-medium foreign franchise universities, to train a supply chain-ready workforce. Chapter 5 asks: what does the UAE furnish these incoming projects and at what cost to a precarious and largely migrant workforce? The Conclusion (like the end of each chapter) offers suggestions for how the injustices that the supply chain cinema exploits and expands might be challenged, diminished and eradicated.

Chapter 5 follows the investment chain from the ‘buy side’ of investment management into the ‘sell side’ of brokers and traders. It discusses the development of ‘dark pools’—private share-trading venues in which subscribers can bid to buy shares or offer to sell them without those bids or offers being visible to the market at large. Originally, access to dark pools was restricted to investment management firms, and the pools were intended to permit those firms to buy or sell large blocks of shares among themselves at low cost and without the ‘market impact’ of trading in the public markets. The history of dark pools, however, shows how hard it has been to cling to that vision in the face of investment chain entanglements. The entanglement on which the chapter focuses most relates to the ways of payments (colloquially known in the US as ‘soft dollars’) for sell-side research.

The annual VDI-Congress Drivetrain for Vehicles is the most important meeting-point for the automotive industry regarding transmissions and driveline-technology. Vehicle manufacturers, transmissions suppliers and the whole supply-chain are presenting and discussing latest technology and trends. The future of drivetrain for vehicles will become very exciting. The number of electrified drivetrains will be growing in future. Things will get more complex with a hybrid drive and packages will be much more challenging. Therefore we are keen to find intelligent solutions. Furthermore we will face significant changes. The following megatrends are going to have big impact on future drivelines and on the whole value chain: • more and more challenging regulations to reduce environmental pollution caused by traffic, • the need for electrification of drivetrain in terms of hybrids and electric vehicles, • the understanding of the drivetrain system as an overall approach, • high pressure fo...

This chapter demonstrates how Judson's management empire began to plateau in the 1940s. The Depression had rattled music's funding structures. Technology had spawned greater competition for live musical experiences. Jazz had supplanted classical music on the pages of many newspapers and trade magazines. But particularly relevant for Judson was an emerging concern about the connection between music and big business. The Federal Communications Commission (FCC) first raised this issue in 1938, when it launched an investigation into the chain-broadcasting practices of the NBC, CBS, and mutual radio networks. The commission also became concerned about the possibility of monopolistic behavior, specifically in the practice of networks representing artists and also buying artists for their radio programs.