Academic literature on the topic 'Cinema Service'

PurposeThis study takes the cinema industry as the research context and investigates the impact of online to offline (O2O) platforms on cinemas' performance. Specifically, the purposes of this paper are threefold: first, to study the influence of platform multihoming on cinemas' performance; second, to examine the interaction impact of platform multihoming and vertical integration; third, to investigate how the influence of platform multihoming varies with cinemas' performance.Design/methodology/approachThis study collects data from 1918 cinemas in China, employs quantile regressions to estimate the model and test the proposed hypotheses and adopts an instrumental variable method to examine the robustness of our results.FindingsThe findings confirm the positive role of platform multihoming for cinemas' performance. However, when a cinema has low-degree platform multihoming, the cinema's vertical integration is positively associated with its performance; when a cinema has high-degree platform multihoming, the cinema's vertical integration is negatively associated with its performance. Furthermore, results from quantile regressions indicate that low-performance cinemas benefit more than high-performance cinemas from employing platform multihoming strategy.Research limitations/implicationsThis paper extends previous research by investigating the impact of platform multihoming on heterogeneous firms and the impact of interaction between platform multihoming and vertical integration. The findings imply that the impact of platform multihoming on firms' performance depends on firms' performance attributes and their vertical relationships.Practical implicationsPlatform multihoming can be a double-edged sword for local service firms. When multihoming platforms, a local service firm should think about the fit between platforms and its own attributes, and identify the potential conflict between platform relationships and traditional relationships of industrial organization.Originality/valueThere is a growing interest in understanding platforms' role in the digital economy. The impact of platform participation on local service firms' performance is not sufficiently investigated. Previous research rarely addressed the impact by incorporating local service firms' performance attributes and the existing relationships of industrial organization.

AbstractMuch of the scholarship on the history of Iranian cinema considers film spectatorship in the first three decades of the 20th century as a leisure practice with origins in royalist and elitist entertainment forms. However, a close reading of archival material from this era reveals that cinema's significance extended well beyond its role as a pastime, as it became engaged in the governance of the self and disciplinary strategies of the state in Iran's experience of modernity in the early 20th century. In this article, I reperiodize the history of cinema in Iran by demonstrating the entanglement of cinema in popular nationalist discourses on education prior to cinema's institutionalization in the 1930s. Drawing on newspaper articles, film announcements, official documents, and poems, I show how, despite the absence of a centralized cinema institution in the 1910s and early 1920s, cosmopolitan citizens in dialogue with global trends promoted cinema as a means for the governance of selfhood and moral edification in the service of national progress. With the appropriation of cinema by the Pahlavi state in the 1930s, cinema was used as a technique of governmentality that aimed to conduct the conduct of individuals and shape an Iranian civic society.

This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.

At cinemas inception the market played the role of the midwife. Further on, market relations had been one of the fundamental framing conditions for the formation and the development of cinema as a social institution, with all its merits and demerits. It was along the pathways of the market that cinema crossed over from France to Russia. The state more suffered it rather than accepted it. Nicholas II deemed cinema a vacuous, no-good-for-anyone, and even harmful entertainment. Of the same opinion initially was V. Lenin. But, having positioned himself at the helm of the state, he put forth the task of turning cinema into artistic propaganda and the most important of the arts. Commerce in cinema was subjected to an ideological and aesthetical anathema. However, market relations did not cease to exist altogether. They rather took on a rudimentary and truncated form. But even in that state, market relations came to be one of the decisive conditions for the cost-effectiveness of Soviet cinema. Since many deny it, in the article this viewpoint is overturned by an analysis of statistical materials from 1976 and 1986. It is shown that the cost-effectiveness was concealed by draconian taxation and the economically groundless expenditure on operating the exhibition network which had been built with a view of film service to the entire population, including the rural. In the late 1980s, on the initiative of the Soviet state, a turn was executed toward a legitimate socialist market. But in reality, only the first steps were made in that direction. Intervene did the demise of the state regime in the USSR. In the post-Soviet period a proper development of the market mechanism did not come to pass. Functioning primarily thanks to the state financial support, the national cinema of contemporary Russia is of a mixed sort: a public-mercantile one.

To make the inner Mongolia National cinema line company to expand the low-cost movie channel benefitting civilian, take better advantage of the company's movie integration and issue, bear the spread and services of films in the whole inner Mongolia Autonomous Region, in this paper, we design and implement the cloud system of inner Mongolia National cinema line, take intelligent digital television operating system under the cloud technique as carrying and transmission tool, broadcast a front-end frequency point through the cable digital television network in the total region, broadcast the digital and cultural content, such as high-definition movies, digital books, party member education , technical training, newspapers, magazines, government information and convenience information, to each neighborhood and community, all levels of schools, factories and business units in the whole region, build the cloud cinema of multi-functional digital cinema hall whose contents are unified, with truly unified management, unified propaganda, unified arranging videos, service on demand, promote the industrial development of national digital culture industry, expand new channels of the national film show, serve the overwhelming majority of community residents.

The relationship between television institutions and film in Britain has a complex history, influenced by profound changes in both industries over time. The involvement of public service broadcasters (PSBs) in British cinema has been a regularly-acknowledged, but under-examined phenomenon. There is a dearth of up-to-date scholarship dealing with the relationship, particularly as it unfolded over the turbulent decades of the 1990s and 2000s. This thesis updates and expands the existing field on the relationship between British television and film cultures. It does so by examining the ways in which PSBs have been involved in film culture, as producers, distributors and exhibitors. It also discusses the significant changes to this relationship wrought by the coming into dominance of digital technologies, and the responses of the PSBs to digitalisation. The body of the thesis is separated into two parts. Part One examines the relationship between television and film at the end of the analogue era, ending roughly in 2002. The first chapter explores the historical background to television films in Britain, discussing the semantic turn from describing single dramas shown on television as ‘plays’ and ‘films’. The second chapter outlines three case studies which explore the relationship between television and distribution. The third chapter discusses the industrial relationship between film and television, and the distinct discourses of ‘quality’ applied to each form. The second part of the thesis discusses the effects of digital technologies on the PSB’s role as producer, distributor and exhibitor of films. Chapter Four explores the position of the PSB as patron of low-budget, digital production schemes. In Chapter Five, the opening night and subsequent decade of broadcasting on the FilmFour digital television channel is analysed. Chapter Six takes as its subject the online film output of the BBC, particularly via its iPlayer platform, and its short film distribution network, the BBC Film Network.

The distribution of real-time multimedia streams is seen nowadays as the next step forward for the Internet. One of the most obvious uses of such streams is to support telephony over the Internet, replacing and improving traditional telephony. This thesis investigates the development and deployment of services in two Internet telephony environments, namely CINEMA (Columbia InterNet Extensible Multimedia Architecture) and VOCAL (Vovida Open Communication Application Library), both based on the Session Initiation Protocol (SIP) and open-sourced. A classification of services is proposed, which divides services into two large groups: basic and advanced services. Basic services are services such as making point-to-point calls, registering with the server and making calls via the server. Any other service is considered an advanced service. Advanced services are defined by four categories: Call Related, Interactive, Internetworking and Hybrid. New services were implemented for the Call Related, Interactive and Internetworking categories. First, features involving call blocking, call screening and missed calls were implemented in the two environments in order to investigate Call-related services. Next, a notification feature was implemented in both environments in order to investigate Interactive services. Finally, a translator between MGCP and SIP was developed to investigate an Internetworking service in the VOCAL environment. The practical implementation of the new features just described was used to answer questions about the location of the services, as well as the level of required expertise and the ease or difficulty experienced in creating services in each of the two environments.
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O censo demográfico apresentado pelo IBGE em 2010 apontou cerca de 45 milhões de pessoas com alguma deficiência vivendo no Brasil, dentre as quais 35 milhões são deficientes visuais. Apesar de consistir grande parcela da população, são notáveis as barreiras que esse público enfrenta para ter acesso à cultura e ao lazer, pois as iniciativas de inclusão em ambientes de convívio social são limitadas e muitas vezes inexistentes. Sob o olhar do Design, e com base em métodos relacionados Design de Serviços, este trabalho apresenta uma pesquisa não propositiva sobre acessibilidade daquele público em salas de cinema, considerando toda a complexidade que envolve essa experiência, desde, por exemplo, a produção de filmes até a experiência propriamente dita nos espaços de projeção.
The census presented by IBGE in 2010 showed about 45 million people with disabilities living in Brazil, of which 35 million are visually impaired. Despite this fact, persons with disabilities face obvious barriers to cultural and leisure services due to the limitation or lack of attitudinal and environmental inclusion initiatives. From a Design perspective, and based on Service Design methods, this paper presents a research on accessibility in cinemas, considering the complexity that surrounds this experience, the production of films, and the experience itself in projection rooms.

Cette thèse a pour vocation de combler un vide historiographique, à savoir l’étude d’une pluralité de l’emploi du cinéma par les forces armées françaises, de la mise en veilleuse des structures en septembre 1919 à l’armistice de juin 1940. Ce travail s’est appuyé sur des archives inédites rapatriées de Russie qui éclairent sous un jour nouveau le lien entre le cinéma et le ministère de la Guerre – et de fait l’Armée – notamment à des fins d’instruction. Notre étude se structure autour d’un double mouvement au cœur de notre problématique : d’une part celui de l’utilisation du médium au sein de l’institution militaire et, d’autre part, son inscription dans le paysage étatique d’un cinéma à la fois d’enseignement, éducateur et de propagande qui connaît un certain âge d’or. La première partie porte sur une analyse structurelle de la Section cinématographique de l’armée (SCA) qui renaît au mitan de l’année 1920, avec une mise en regard de ses enjeux et de ses avancées pendant l’entre-deux-guerres. En parallèle, la question d’un emploi du cinéma au sein de la Marine nationale et de l’Armée de l’Air révèle un usage politique, visant à répondre à des défis structurels. Dans une seconde partie, nous étudions la production de la SCA, à la fois les films d’instruction – cœur de sa filmographie – et ceux s’inscrivant dans une logique d’éducation (morale, patriotique ou prophylactique) et de propagande notamment coloniale. Enfin, notre propos explore la mutation du cinéma militaire et son entrée dans l’âge adulte de la « drôle de la guerre » à juin 1940
This thesis aims to fill a historiographic vacuum. Namely, it studies the plurality of the use of cinema by the French Armed Forces between the time war cinema was put on hold in September 1919 and the Armistice of June 1940. This work is based on unpublished archives, which were repatriated from Russia. They shed a new light on the link between cinema and the Ministry of War (including the Army), especially for educational purposes. Our study is structured around a double movement, which is at the heart of our research problem: the use of the medium within the military institution, and its inscription in the state landscape of a cinema simultaneously used for education and propaganda ; this plurality attained a certain golden age at that point. The first movement deals with a structural analysis of the Army Cinema Section (ACS), which reemerged in summer 1920, and it includes an overview of its stakes and progress during the interwar period. At the same time, the question of the use of cinema in the French Navy and Air Force reveals a political use, which was focused on meeting structural challenges. In the second part, we study the production of the ACS, including the instructional films at the heart of this filmography, other educational films (such as moral, patriotic, or prophylactic), and propaganda films (particularly colonial). Finally, we explore the mutation of military cinema and its entry into a fully developed age: from the "Phoney War" to June 1940

Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiés
This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections

This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.

Televizija perėmė dviejų menų – iš pradžių teatro, vėliau ir kino puoselėtas dramaturgijos raiškos priemones bei sukūrė savitą dramos pasaulį, kurio žiūrovas – prieš televizoriaus ekraną sėdintys žmonės. Televizijos dramaturgija žengia vos pirmuosius žingsnius, lyginant ją su dešimtmečių ar net šimtmečių patirtį turinčiais kinu bei teatru, todėl iki šiol nėra atliktos platesnės TV dramaturgijos studijos. Šio baigiamojo magistro darbo tyrimo objektas yra Lietuvos radijo ir televizijos projekto „Nacionalinė paieškų tarnyba“ analizė bei dramaturgijos raiškos televizijoje tyrimas. Tyrimui bei analizei laida „Nacionalinė paieškų tarnyba“ pasirinkta dėl savo unikalaus – Lietuvos televizijose – pobūdžio. Analogų lietuviškose televizijos programose neturinti laida, padedanti po pasaulį išblaškytiems giminaičiams ir artimiesiems surasti vienam kitą. Atlikto darbo tikslas buvo ištirti, kaip dramaturgija yra perteikta konkrečioje televizijos laidoje, kokius teatre bei kine pritaikytus dramos elementus perėmė TV projektai ir kokį poveikį žiūrovų auditorijai daro dramaturgijos elementų panaudojimas televizijoje. Baigiamojo magistro darbo uždaviniai buvo susiję su dramaturgijos elementų pritaikymo televizijoje analize, dramaturgijos raiškos lietuviškoje TV tendencijų aprašymų bei perspektyvų įvertinimu. Buvo siekiama nustatyti dramos kūrinių reikšmę televizijos programose bei apibendrinti TV auditorijos poreikius bei lūkesčius susijusius su dramaturgija. Šio darbo metodai – laidos... [toliau žr. visą tekstą]
The television applied dramaturgy expression methods that were nurtured by theater at the beginning and later by cinema and created original drama world whose spectators are people sitting in front of the television. The television dramaturgy takes barely its first steps, compared with theater and cinema which have the experience of decades or even centuries; therefore there are no wider TV drama study. An object of the master thesis is an analysis of Lithuanian radio and television project National search service and research of dramaturgy expression. The show National search service was chosen because of its uniqueness in Lithuanian television channels. The show which helps to find one‘s own flesh and blood dissipated in the world is the broadcast that has no analogues in the programmes of Lithuanian television channels. The goal was to examine how dramaturgy was conveyd in a particular television broadcast, what theatrical and cinematic dramaturgy elements were adopted in TV projects and what impact the dramaturgy elements make on an audience in the television. The objectives of the master thesis were coherent with the analysis of dramaturgy elements applied in television, the description of trends of dramaturgy expression in Lithuanian TV and the evaluation of prospects. The main focus was to determine the significance of drama pieces in television programmes and to summarize TV audience needs and expectations related to dramaturgy. The methods of the study involve... [to full text]

L'étude de l'exploitation des oeuvres cinématographiques sous le prisme du droit administratif révèle un pan peu connu du droit du cinéma. Loin des idées reçues, la recherche démontre combien le droit administratif a d'abord été un instrument visant à préserver et à promouvoir les salles de cinéma et combien il reste aujourd'hui un moyen puissant de promotion de la diffusion des oeuvres cinématographiques. Par ailleurs, à l'heure où les modes numériques de diffusion du cinéma vont profondément bouleverser l'industrie cinématographique, la thèse confirme qu'il ne fait aucun doute que le cadre juridique de son développement va nécessairement être fragilisé. De nouveaux défis vont devoir être relevés par le droit, car la salle, comme support principal de l'oeuvre, est désormais confrontée à la numérisation des équipements, l'émergence du hors-film, ou l'obsolescence programmée de l'actuelle chronologie des médias. Tout ceci impliquera donc une adaptation, voire une mutation, du droit administratif s'il souhaite conserver une place centrale dans la régulation de l'exploitation des oeuvres cinématographiques. L'intention principale de cette thèse est donc de révéler et de comprendre la persistante nécessité d'un encadrement par le droit administratif de la diffusion des oeuvres cinématographiques. Pour ce faire, avant de démontrer combien le droit administratif constitue encore aujourd'hui un moyen légitime d'organisation et de soutien de la projection-diffusion des oeuvres, il sera révélé que ce droit « dérogatoire », bien que contraignant, s'est très vite avéré indispensable à l'existence même de spectacles de cinéma et au maintien d'une industrie cinématographique française
The study of the exploitation of films through the prism of administrative law reveals a little-known side of cinema law. Indeed, far from the preconceptions, research shows how administrative law was first an instrument to preserve and promote movie theaters and how it remains today a powerful means of promoting and distributing cinematographic works.Moreover, at a time when digital cinema distribution methods will totally disrupt the film industry, the thesis confirms that there is no doubt that the legal framework for its development will necessarily be weakened. New challenges will have to be officially recorded by the law, because the cinema hall (movie theater), as the principal medium of the work, is now faced with scanning equipment or planned obsolescence of the current media timeline. All this therefore implies an adaptation or mutation of administrative law if its duty is to retain a central role in regulating the exploitation of cinematographic works. The main intention of this thesis is to reveal and to understand the continued need for a framework formed by the administrative law of cinematographic works. To do this, before showing how administrative law is still a legitimate way to organize and support the distribution-projection of works, it will first be shown that "special" law, although binding, was very quickly essential to the very existence of movie performances and generally speaking, to the maintenance of the French film industry

Thesis (M.A.)--Kutztown University of Pennsylvania, 2006.
Source: Masters Abstracts International, Volume: 45-06, page: 2696. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaves 137-145).

Ce travail a pour ambition de démontrer les liens qui existent entre cinéma et histoire. L'objet de cette recherche fut en son fondement celui de la question suivante : l'histoire peut-elle être correctement adaptée au cinéma ? D'emblée, nous fumes confronte à un problème de taille quant à l'adaptation très libre de l'histoire par un genre filmique particulier : le péplum. Nous dûmes alors effectuer un travail de relecture des contenus discursifs et du cinéma et de l'histoire d'où les nécessaires mises au point liées au langage filmique et son action de transcodage de l'histoire. Ainsi, après avoir mis en évidence le rôle déterminant joué par le discours filmique sur le discours historique, nous avons pu confirmer une hypothèse de départ ; l'histoire dans le genre filmique que nous avons étudié n'est qu'un prétexte a un discours filmique en voie d'"autonomie". La constitution en langage filmique autonome définit alors le discours de genre ou plutôt le discours "peplumeen" en ce qui concerne notre étude. Cependant, l'histoire en l'occurrence ancienne, si elle n'est que le prétexte au discours filmique, n'en demeure pas moins la base de ce discours. Cette concomitance entre discours filmique et discours sur l'histoire nous a amené à définir un nouveau concept d'approche de ce discours sur l'histoire que nous avons qualifié de "néo-mythologie" ; celle-ci opérant au sein du discours sur l'histoire ancienne, dans un cadre chronologique et thématique particulier : l'évolution de l'adaptation d'hercule au cinéma. En définitive, l'opération de transcodage s'effectue à l'avantage du discours filmique.

The chapter deals with the topical issue of cultural policies through digitalization in cinema in Turkey, discussing the appropriate frameworks that need to be put in force. In a rapidly developing society like Turkey, the problems of digitalization in cinema vis-à-vis neoliberal regulation are being debated. Three crucial areas for a digital cultural policy in cinema are identified, namely expanding public service mindset on new services and national digital platforms, creating a communications policy framework of the different parties involved as government, parliament, regulatory authorities, the public service media, and the designated third parties as civil society and market representatives, and stimulating debate to follow an anti-monopolistic progression in (digitalized) cinema.

Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803

1.1 Macroeconomic summary Economic recovery has consistently outperformed the technical staff’s expectations following a steep decline in activity in the second quarter of 2020. At the same time, total and core inflation rates have fallen and remain at low levels, suggesting that a significant element of the reactivation of Colombia’s economy has been related to recovery in potential GDP. This would support the technical staff’s diagnosis of weak aggregate demand and ample excess capacity. The most recently available data on 2020 growth suggests a contraction in economic activity of 6.8%, lower than estimates from January’s Monetary Policy Report (-7.2%). High-frequency indicators suggest that economic performance was significantly more dynamic than expected in January, despite mobility restrictions and quarantine measures. This has also come amid declines in total and core inflation, the latter of which was below January projections if controlling for certain relative price changes. This suggests that the unexpected strength of recent growth contains elements of demand, and that excess capacity, while significant, could be lower than previously estimated. Nevertheless, uncertainty over the measurement of excess capacity continues to be unusually high and marked both by variations in the way different economic sectors and spending components have been affected by the pandemic, and by uneven price behavior. The size of excess capacity, and in particular the evolution of the pandemic in forthcoming quarters, constitute substantial risks to the macroeconomic forecast presented in this report. Despite the unexpected strength of the recovery, the technical staff continues to project ample excess capacity that is expected to remain on the forecast horizon, alongside core inflation that will likely remain below the target. Domestic demand remains below 2019 levels amid unusually significant uncertainty over the size of excess capacity in the economy. High national unemployment (14.6% for February 2021) reflects a loose labor market, while observed total and core inflation continue to be below 2%. Inflationary pressures from the exchange rate are expected to continue to be low, with relatively little pass-through on inflation. This would be compatible with a negative output gap. Excess productive capacity and the expectation of core inflation below the 3% target on the forecast horizon provide a basis for an expansive monetary policy posture. The technical staff’s assessment of certain shocks and their expected effects on the economy, as well as the presence of several sources of uncertainty and related assumptions about their potential macroeconomic impacts, remain a feature of this report. The coronavirus pandemic, in particular, continues to affect the public health environment, and the reopening of Colombia’s economy remains incomplete. The technical staff’s assessment is that the COVID-19 shock has affected both aggregate demand and supply, but that the impact on demand has been deeper and more persistent. Given this persistence, the central forecast accounts for a gradual tightening of the output gap in the absence of new waves of contagion, and as vaccination campaigns progress. The central forecast continues to include an expected increase of total and core inflation rates in the second quarter of 2021, alongside the lapse of the temporary price relief measures put in place in 2020. Additional COVID-19 outbreaks (of uncertain duration and intensity) represent a significant risk factor that could affect these projections. Additionally, the forecast continues to include an upward trend in sovereign risk premiums, reflected by higher levels of public debt that in the wake of the pandemic are likely to persist on the forecast horizon, even in the context of a fiscal adjustment. At the same time, the projection accounts for the shortterm effects on private domestic demand from a fiscal adjustment along the lines of the one currently being proposed by the national government. This would be compatible with a gradual recovery of private domestic demand in 2022. The size and characteristics of the fiscal adjustment that is ultimately implemented, as well as the corresponding market response, represent another source of forecast uncertainty. Newly available information offers evidence of the potential for significant changes to the macroeconomic scenario, though without altering the general diagnosis described above. The most recent data on inflation, growth, fiscal policy, and international financial conditions suggests a more dynamic economy than previously expected. However, a third wave of the pandemic has delayed the re-opening of Colombia’s economy and brought with it a deceleration in economic activity. Detailed descriptions of these considerations and subsequent changes to the macroeconomic forecast are presented below. The expected annual decline in GDP (-0.3%) in the first quarter of 2021 appears to have been less pronounced than projected in January (-4.8%). Partial closures in January to address a second wave of COVID-19 appear to have had a less significant negative impact on the economy than previously estimated. This is reflected in figures related to mobility, energy demand, industry and retail sales, foreign trade, commercial transactions from selected banks, and the national statistics agency’s (DANE) economic tracking indicator (ISE). Output is now expected to have declined annually in the first quarter by 0.3%. Private consumption likely continued to recover, registering levels somewhat above those from the previous year, while public consumption likely increased significantly. While a recovery in investment in both housing and in other buildings and structures is expected, overall investment levels in this case likely continued to be low, and gross fixed capital formation is expected to continue to show significant annual declines. Imports likely recovered to again outpace exports, though both are expected to register significant annual declines. Economic activity that outpaced projections, an increase in oil prices and other export products, and an expected increase in public spending this year account for the upward revision to the 2021 growth forecast (from 4.6% with a range between 2% and 6% in January, to 6.0% with a range between 3% and 7% in April). As a result, the output gap is expected to be smaller and to tighten more rapidly than projected in the previous report, though it is still expected to remain in negative territory on the forecast horizon. Wide forecast intervals reflect the fact that the future evolution of the COVID-19 pandemic remains a significant source of uncertainty on these projections. The delay in the recovery of economic activity as a result of the resurgence of COVID-19 in the first quarter appears to have been less significant than projected in the January report. The central forecast scenario expects this improved performance to continue in 2021 alongside increased consumer and business confidence. Low real interest rates and an active credit supply would also support this dynamic, and the overall conditions would be expected to spur a recovery in consumption and investment. Increased growth in public spending and public works based on the national government’s spending plan (Plan Financiero del Gobierno) are other factors to consider. Additionally, an expected recovery in global demand and higher projected prices for oil and coffee would further contribute to improved external revenues and would favor investment, in particular in the oil sector. Given the above, the technical staff’s 2021 growth forecast has been revised upward from 4.6% in January (range from 2% to 6%) to 6.0% in April (range from 3% to 7%). These projections account for the potential for the third wave of COVID-19 to have a larger and more persistent effect on the economy than the previous wave, while also supposing that there will not be any additional significant waves of the pandemic and that mobility restrictions will be relaxed as a result. Economic growth in 2022 is expected to be 3%, with a range between 1% and 5%. This figure would be lower than projected in the January report (3.6% with a range between 2% and 6%), due to a higher base of comparison given the upward revision to expected GDP in 2021. This forecast also takes into account the likely effects on private demand of a fiscal adjustment of the size currently being proposed by the national government, and which would come into effect in 2022. Excess in productive capacity is now expected to be lower than estimated in January but continues to be significant and affected by high levels of uncertainty, as reflected in the wide forecast intervals. The possibility of new waves of the virus (of uncertain intensity and duration) represents a significant downward risk to projected GDP growth, and is signaled by the lower limits of the ranges provided in this report. Inflation (1.51%) and inflation excluding food and regulated items (0.94%) declined in March compared to December, continuing below the 3% target. The decline in inflation in this period was below projections, explained in large part by unanticipated increases in the costs of certain foods (3.92%) and regulated items (1.52%). An increase in international food and shipping prices, increased foreign demand for beef, and specific upward pressures on perishable food supplies appear to explain a lower-than-expected deceleration in the consumer price index (CPI) for foods. An unexpected increase in regulated items prices came amid unanticipated increases in international fuel prices, on some utilities rates, and for regulated education prices. The decline in annual inflation excluding food and regulated items between December and March was in line with projections from January, though this included downward pressure from a significant reduction in telecommunications rates due to the imminent entry of a new operator. When controlling for the effects of this relative price change, inflation excluding food and regulated items exceeds levels forecast in the previous report. Within this indicator of core inflation, the CPI for goods (1.05%) accelerated due to a reversion of the effects of the VAT-free day in November, which was largely accounted for in February, and possibly by the transmission of a recent depreciation of the peso on domestic prices for certain items (electric and household appliances). For their part, services prices decelerated and showed the lowest rate of annual growth (0.89%) among the large consumer baskets in the CPI. Within the services basket, the annual change in rental prices continued to decline, while those services that continue to experience the most significant restrictions on returning to normal operations (tourism, cinemas, nightlife, etc.) continued to register significant price declines. As previously mentioned, telephone rates also fell significantly due to increased competition in the market. Total inflation is expected to continue to be affected by ample excesses in productive capacity for the remainder of 2021 and 2022, though less so than projected in January. As a result, convergence to the inflation target is now expected to be somewhat faster than estimated in the previous report, assuming the absence of significant additional outbreaks of COVID-19. The technical staff’s year-end inflation projections for 2021 and 2022 have increased, suggesting figures around 3% due largely to variation in food and regulated items prices. The projection for inflation excluding food and regulated items also increased, but remains below 3%. Price relief measures on indirect taxes implemented in 2020 are expected to lapse in the second quarter of 2021, generating a one-off effect on prices and temporarily affecting inflation excluding food and regulated items. However, indexation to low levels of past inflation, weak demand, and ample excess productive capacity are expected to keep core inflation below the target, near 2.3% at the end of 2021 (previously 2.1%). The reversion in 2021 of the effects of some price relief measures on utility rates from 2020 should lead to an increase in the CPI for regulated items in the second half of this year. Annual price changes are now expected to be higher than estimated in the January report due to an increased expected path for fuel prices and unanticipated increases in regulated education prices. The projection for the CPI for foods has increased compared to the previous report, taking into account certain factors that were not anticipated in January (a less favorable agricultural cycle, increased pressure from international prices, and transport costs). Given the above, year-end annual inflation for 2021 and 2022 is now expected to be 3% and 2.8%, respectively, which would be above projections from January (2.3% and 2,7%). For its part, expected inflation based on analyst surveys suggests year-end inflation in 2021 and 2022 of 2.8% and 3.1%, respectively. There remains significant uncertainty surrounding the inflation forecasts included in this report due to several factors: 1) the evolution of the pandemic; 2) the difficulty in evaluating the size and persistence of excess productive capacity; 3) the timing and manner in which price relief measures will lapse; and 4) the future behavior of food prices. Projected 2021 growth in foreign demand (4.4% to 5.2%) and the supposed average oil price (USD 53 to USD 61 per Brent benchmark barrel) were both revised upward. An increase in long-term international interest rates has been reflected in a depreciation of the peso and could result in relatively tighter external financial conditions for emerging market economies, including Colombia. Average growth among Colombia’s trade partners was greater than expected in the fourth quarter of 2020. This, together with a sizable fiscal stimulus approved in the United States and the onset of a massive global vaccination campaign, largely explains the projected increase in foreign demand growth in 2021. The resilience of the goods market in the face of global crisis and an expected normalization in international trade are additional factors. These considerations and the expected continuation of a gradual reduction of mobility restrictions abroad suggest that Colombia’s trade partners could grow on average by 5.2% in 2021 and around 3.4% in 2022. The improved prospects for global economic growth have led to an increase in current and expected oil prices. Production interruptions due to a heavy winter, reduced inventories, and increased supply restrictions instituted by producing countries have also contributed to the increase. Meanwhile, market forecasts and recent Federal Reserve pronouncements suggest that the benchmark interest rate in the U.S. will remain stable for the next two years. Nevertheless, a significant increase in public spending in the country has fostered expectations for greater growth and inflation, as well as increased uncertainty over the moment in which a normalization of monetary policy might begin. This has been reflected in an increase in long-term interest rates. In this context, emerging market economies in the region, including Colombia, have registered increases in sovereign risk premiums and long-term domestic interest rates, and a depreciation of local currencies against the dollar. Recent outbreaks of COVID-19 in several of these economies; limits on vaccine supply and the slow pace of immunization campaigns in some countries; a significant increase in public debt; and tensions between the United States and China, among other factors, all add to a high level of uncertainty surrounding interest rate spreads, external financing conditions, and the future performance of risk premiums. The impact that this environment could have on the exchange rate and on domestic financing conditions represent risks to the macroeconomic and monetary policy forecasts. Domestic financial conditions continue to favor recovery in economic activity. The transmission of reductions to the policy interest rate on credit rates has been significant. The banking portfolio continues to recover amid circumstances that have affected both the supply and demand for loans, and in which some credit risks have materialized. Preferential and ordinary commercial interest rates have fallen to a similar degree as the benchmark interest rate. As is generally the case, this transmission has come at a slower pace for consumer credit rates, and has been further delayed in the case of mortgage rates. Commercial credit levels stabilized above pre-pandemic levels in March, following an increase resulting from significant liquidity requirements for businesses in the second quarter of 2020. The consumer credit portfolio continued to recover and has now surpassed February 2020 levels, though overall growth in the portfolio remains low. At the same time, portfolio projections and default indicators have increased, and credit establishment earnings have come down. Despite this, credit disbursements continue to recover and solvency indicators remain well above regulatory minimums. 1.2 Monetary policy decision In its meetings in March and April the BDBR left the benchmark interest rate unchanged at 1.75%.