Relevant bibliographies by topics / Cooperative cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Cooperative cinema'

Author: Grafiati
Published: 25 May 2024

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Journal articles on the topic "Cooperative cinema"

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Mendez, Jose Carlos. "Toward a Political Cinema: The Cooperative of Marginal Cinema." Wide Angle 21, no. 3 (1999): 42–65. http://dx.doi.org/10.1353/wan.2003.0009.

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Laine, Kimmo. "Did television kill cinema? Contemporary writings on film and early television in Finland." Journal of Scandinavian Cinema 13, no. 1 (March 1, 2023): 83–89. http://dx.doi.org/10.1386/jsca_00083_1.

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The aim of this article is to survey and re-examine writings on the emergence of television in Finnish film journals and newspapers in the 1950s and early 1960s. While film history has typically pictured film and television mainly as rivals, here the relation is discussed in terms not only of competition but also of interaction and cooperation. I classify the early writings into three groups according to the mode with which the relations between television and cinema are discussed: separationist, protectionist and cooperative. Based on this classification, I argue that it was only after 1963 that the narrative about television taking over – or, indeed, killing – cinema was retroactively established.
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Berzosa, Alberto, and Jaime Vindel. "Militant cinema as an energetic alternative in the 1970s in Spain." Moving Image Review & Art Journal (MIRAJ), The 11, no. 2 (September 1, 2022): 166–88. http://dx.doi.org/10.1386/miraj_00093_1.

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This article will examine the significance of the alternative film scene, as seen in the Spanish militant cinema of this period, through an analysis of the film Les energies (‘The energies’) (1979–80) by the Cooperativa de Cinema Alternatiu (CCA – Alternative Cinema Cooperative) that helped to trigger the debate on the energy question in Spain in the late 1970s and early 1980s. The militant Spanish cinema of that time was produced in some exceptionally precarious conditions as well as had limited access to financial resources and remained marginal to official film industry systems. The article will discuss how these production conditions led the CCA to adopt a specific material filmmaking mode with a low ecological impact. Emerging as a consequence of a production context marked by precariousness and (semi-)clandestinity, it was a mode of production developed in parallel to the rise of environmental awareness in Spain, which had – as the first part of this article explores – a decisive influence on the CCA. In turn, as the article goes on to discuss, the environmentalist discourse would itself end up determining the narrative content of one of the CCA’s most important films, Les energies.
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Dianova, E. V. "Film work of the Samara Provincial Community of Consumer Cooperatives in 1926–1928." Vestnik of Samara University. History, pedagogics, philology 29, no. 3 (October 24, 2023): 32–39. http://dx.doi.org/10.18287/2542-0445-2023-29-3-32-39.

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The article deals with the film work of the Samara Provincial Community of Consumer Cooperatives in 1926–1928. The relevance of the research topic lies in the fact that, using the example of the activities of the regional cooperative union for film services to the population, it is possible to identify social factors and mechanisms of sociocultural dynamics. As a source, the materials of the magazines «Sower of Truth» of the Samara Provincial Community of Consumer Cooperatives and «Cooperative Way» of the Middle Volga Regional and District Union of Consumer Cooperatives were used. The magazines published announcements of films, announcements about the route of film shifts, instructors’ reports on film flights, and reviews from viewers. The main scientific problem is to study the ways of organizing cinema services and the results of the work of cooperative movements of the Samara Provincial Union of Consumer Cooperatives. The research methodology is based on the theory of communication. For an objective quantitative analysis of the content of communication, content analysis is used. Narrative, historical-genetic, historical-comparative, typological methods of scientific knowledge were also used. In the course of the study, it was possible to find out that the Samara cooperators used a competent strategy to attract viewers, relying on active shareholders who fully paid their share contributions, subscribers of the Sower of Truth magazine. During film screenings, before and after the films were shown, new members of the cooperatives and subscribers of the Sower of Truth magazine were recruited, and share contributions were accepted. This policy of the Gubernia Union provided a return on the rental of tapes and film flights. The organization of movie nights was linked to various socio-political and cooperative educational campaigns.
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Roque, Rosemarie O. "Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil." Plaridel 15, no. 2 (December 2018): 71–112. http://dx.doi.org/10.52518/2018.15.2-03roque.

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Sineng Bayan (People’s Cinema) is a salient part of Philippine alternative cinema, which is in stark contrast to the dominant commercial cinema. It is an important aspect in the pursuit of a more serious Philippine cinema. Political film collectives that arose in the early 1980s and flourished during the Marcos dictatorship gave way to Sineng Bayan. This article focuses on the archival audiovisual works of AsiaVisions Media Foundation (AVMF), a non-government organization which primarily utilized film documentaries in its propaganda-education work, and Alternative Horizons (AlterHorizons), the first media cooperative in the country. This study on Sineng Bayan and the Archives forwards the discourse on film as an effective cultural weapon of the Filipino people in their struggle for national freedom and genuine democracy. Capturing the people’s experiences and struggles through audio-visual presentations, videos, and films, the works of these political film collectives are part of the collective memory and documentary heritage of the country.
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Buder, Bernd. "‘Georgian Film Is a Completely Unique Phenomenon.’ A Film Scene with History, or Georgian Cinema in the Emancipation Loop." Südosteuropa 66, no. 3 (September 25, 2018): 426–40. http://dx.doi.org/10.1515/soeu-2018-0032.

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Abstract With a view of Georgian cinema under the current spotlights of various international film festivals, the author reviews the state of the art of Georgian film production, linking it to the impressively long history of Georgia’s cinematographic production. Recently, a targeted film promotion policy has focused on international co-productions and on fostering cooperative ventures with European partners. Among the young filmmakers a remarkably large proportion are female.
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Győri, Zsolt. "Crisis, Sociology and Agency in 1970s Hungarian Documentary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 21, no. 1 (July 1, 2022): 146–70. http://dx.doi.org/10.2478/ausfm-2022-0006.

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Abstract This article explores synergies between Hungarian critical sociology in the 1960–70s and the documentary films made in Balázs Béla Stúdió in the same period. It treats the rationalization of social phenomena as a battle ground for meaning and claims that both representatives of the social sciences and filmmakers, on the one hand, called upon deficient social mechanisms and the inner contradictions of existing socialism and, on the other hand, pointed to the discrepancy between ideological and empirical perceptions of reality as the root cause of the crisis characterizing the consolidated Kádár regime. Adopting Clifford Geertz’s conceptual matrix of the experience-near and the experience-distant production of social meaningfulness, the article explores how sociologists and makers of sociographic documentaries alike resisted the prevailing epistemic regime, more specifically how they punctured and undermined the ideological meanings of such concepts as maternity, the Romani, and cooperative democracy.1
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Xu, Yongrui, and Peng Liang. "A Cooperative Coevolution Approach to Automate Pattern-based Software Architectural Synthesis." International Journal of Software Engineering and Knowledge Engineering 24, no. 10 (December 2014): 1387–411. http://dx.doi.org/10.1142/s0218194014400130.

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To reuse successful experience in software architecture design, architects use architectural patterns as reusable architectural knowledge for architectural synthesis. However, it has been observed that the resulting architecture does not always conform to the initial architectural patterns employed. Architectural synthesis using architectural patterns is also recognized as a challenging task, especially for novice architects due to lack of experience. In this paper, we propose a cooperative coevolution approach to automate architectural synthesis using architectural patterns. We first analyze several common architectural patterns and the constraints when using them. We then extend existing architectural synthesis activity with patterns based on the results of this analysis. Finally, we map the extended architectural synthesis to a cooperative coevolution model, which can optimize the resulting architectural solutions and avoid the violations to the pattern constraints automatically. We evaluate the proposed approach through a case study: architecture design of a cinema booking system. The results show that the proposed approach can generate architectural solutions which are closer to the expert design.
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Botella-Martinez, Maria, and Rebeca Cristina López-González. "Intercultural Cinema to Foster Education for Sustainable Development and Global Citizenship: a Didactic Case Study." Journal of Literary Education, no. 7 (December 30, 2023): 204. http://dx.doi.org/10.7203/jle.7.27486.

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Abstract As societies evolve, a new global context is rising which demands respect for human rights and a new model for coexistence as promoted and defended by the 2030 Agenda from the United Nations. These necessary new models, which include Education for Sustainable Development and Global Citizenship, can be learnt through films since some of these visual materials constitute a useful training tool when related to the acquisition of values. This article is aimed at evidencing how the introduction of intercultural cinema as a pedagogical tool to learn about unknown social issues, foreign cultures and people enhances student’s communication, cooperative skills and motivation. To accomplish this objective a didactic experience shared by Secondary Education Students shall be presented. As a result, an increase in student’s motivation to learn more about mixed opinions, languages, cultures, actions and reactions has been observed. Key words: ESL, cinema for education purposes, Education for Sustainable Development and Global Citizenship, communicative competence, interculturality. Resumen A medida que las sociedades evolucionan, surge un nuevo contexto global que exige el respeto de los Derechos Humanos y un nuevo modelo de convivencia como el que promueve y defiende la Agenda 2030 de Naciones Unidas. Estos nuevos modelos necesarios, que integran la Educación para el Desarrollo Sostenible y la Ciudadanía Global, se pueden asimilar a través del cine, ya que algunos de estos materiales audiovisuales constituyen una herramienta de formación útil cuando se enfoca en la adquisición de valores. Este artículo tiene como objetivo evidenciar cómo la introducción del cine intercultural como herramienta pedagógica para aprender sobre temas sociales desconocidos, culturas y personas extranjeras mejora la comunicación, las habilidades cooperativas y la motivación del estudiantado. Para lograr este objetivo se presentará una experiencia didáctica compartida por estudiantes de Educación Secundaria. Como resultado, se ha observado un aumento en la motivación de los estudiantes para aprender más sobre opiniones, idiomas, culturas, acciones y reacciones encontradas. Palabras clave: inglés como segunda lengua, cine con fines educativos, Educación para el Desarrollo Sostenible y la Ciudadanía Global, competencia comunicativa, interculturalidad. Resum A mesura que les societats evolucionen, sorgeix un nou context global que exigeix el respecte dels drets humans i un nou model de convivència com el que promou i defensa l'Agenda 2030 de les Nacions Unides. Aquests nous models necessaris, que integren l'Educació per al Desenvolupament Sostenible i la Ciutadania Global, es poden assimilar a través del cinema, ja que alguns materials audiovisuals constitueixen una eina de formació útil quan s'enfoca en l'adquisició de valors. Aquest article té com a objectiu evidenciar com la introducció del cinema intercultural com a eina pedagògica per aprendre sobre temes socials desconeguts, cultures i persones estrangeres millora la comunicació, les habilitats cooperatives i la motivació dels estudiants. Per assolir aquest objectiu, es presentarà una experiència didàctica compartida per estudiants d'Educació Secundària. Com a resultat, s’ha observat un augment en la motivació dels estudiants per aprendre més sobre opinions, idiomes, cultures, accions i reaccions trobades. Paraules clau: anglès com a segona llengua, cinema amb finalitats educatives, Educació per al Desenvolupament Sostenible i la Ciutadania Global, competència comunicativa, interculturalitat.
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Stjernholm, Emil. "Visions of Post-independence India in Arne Sucksdorff’s Documentaries." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 81–102. http://dx.doi.org/10.1177/0974927617699648.

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This article studies two post-war documentary films set in India, Indian Village (1951) and The Wind and the River (1953), directed by the celebrated Swedish filmmaker Arne Sucksdorff. While many scholars have studied these films in relation to Sucksdorff’s biography and Swedish national cinema, less emphasis has been placed on these Indian documentaries in relation to other international documentary work that took place in India during the post-independence period. The excursion to India took place on commission from the Swedish Cooperative Union and Wholesale Society and therefore the films are studied in relation to Charles R. Acland and Haidee Wasson’s notion of “useful cinema.” In doing so, this article emphasizes the didactic ideas behind the production of sponsored film and the way in which ideas of the welfare state were projected onto post-independence India. Reading these documentaries against the grain, this article also addresses the question of how these films affected the authorial discourse surrounding Arne Sucksdorff and conversely what impact his films had among critics and filmmakers in India.
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Dissertations / Theses on the topic "Cooperative cinema"

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Lancialonga, Federico. "Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.

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À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuient sur un même choix politique : le travail collectif en alternative à l’industrie. Un choix car, pour chacun d’entre eux, il ne s’agit ni d’un repli, ni d’une solution dictée par l’impossibilité ou l’incapacité d’accéder au circuit commercial, mais d’une décision consciente et assumée, en opposition à ce même circuit. Le titre « Contre-produire » souligne cette corrélation entre le refus des méthodes de production du cinéma « dominant » et l’adoption d’une approche collective pour en inventer de nouvelles. Les procédés hégémoniques dont il est question ne se limitent pas seulement aux normes imposées par les circuits du cinéma commercial, mais également aux formes du cinéma « dissident » qui réduisent les films à leur fonction de communication politique. L’objectif est de mettre en lumière une sélection de films, de projets, de théories et d’utopies collectives qui ont émergé à « la marge » du cinéma italien dans l’une de ses périodes les plus fécondes. Loin d’être « marginales » au sens de secondaires, elles ont constitué un laboratoire majeur de nouvelles formes cinématographiques dans l’Italie des années 1950-1970
From the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s
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Cohen, Lisiane Fagundes. "Casa de Cinema de Porto Alegre: realização cooperativa, padrão de criação e desenvolvimento no cinema gaúcho." Universidade do Vale do Rio do Sinos, 2010. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2669.

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O presente estudo “Casa de Cinema de Porto Alegre: realização cooperativa, padrão de criação e desenvolvimento no cinema gaúcho” busca compreender como a Casa de Cinema de Porto Alegre se mantém após mais de vinte anos de atividade em um mercado de características muito específicas, que dificultam e, em alguns casos, inviabilizam sua execução permanente e constante. Com a utilização dos métodos de pesquisa e revisão bibliográfica combinados com entrevista em profundidade, o estudo resgata e analisa a trajetória da empresa produtora, contextualizando suas ações desde o seu surgimento até a atualidade. Ao mesmo tempo, destaca sua importância como grupo com relevância cultural, social, econômica e política. Sua atuação, tanto pelos indivíduos que, em suas realizações, propuseram mudanças significativas para o cinema nacional, principalmente para o gaúcho, quanto pelo conjunto de profissionais que, pela união de suas aptidões, trouxeram novos elementos para esse mercado, criou um padrão, legitimado pelas maiores
“Casa de Cinema de Porto Alegre (The House of Films of Porto Alegre): cooperative realization, standard of creation and development of the cinema in the south of Brazil” seeks to understand how Casa de Cinema de Porto Alegre remains, after more than twenty years of activity, in a market of such specific characteristics that make it difficult and, in some cases, hinder its ongoing and constant accomplishments. Through methods of research, review of literature and an in-depth interview, this study recovers and analyzes the trajectory of this independent production company, contextualizing its actions from its birth to the present. At the same time, it highlights the company’s importance as a group of cultural, social, economic and political relevance. Its performance, both through the individuals whose accomplishments proposed significant changes to the national cinema, mainly to the southern one, and through the gathering of such talented professionals, who have brought new elements to this market. Casa de Ci
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Vincent, Bérénice. "Cinema, cultural diversity and the globalization process." Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1325.

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Rolim, Cristhine Lucena. "Estratégias alternativas de produção no cinema brasileiro contemporâneo: o caso da cooperativa Filmes a granel." Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9940.

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In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study.
Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.
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Zacche', Maria Vittoria <1994&gt. "The Cooperation between Italy and China in the cruise shipbuilding industry: strategies and trends." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/14065.

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The cruise sector is experiencing an unprecedent growth, as shown by the increasing demand for cruises from East Asia markets, especially from China. The increasing complexity of market needs, both from a functional (comfort, design, facilities) as well as from an emotional point of view, is giving rise to a differentiated demand which is not just a simple challenge that need to be addressed by the major cruise shipyards who want to compete at world level. Traditionally, Europe has always dominated the shipbuilding market; this said, in recent years, it has given way to the expansion of Far East-based shipyards such as China, South Korea and Japan. This switch has been made possible thanks to favourable manufacturing costs, low labour costs and government financial support. In this thesis, my primary aim is to investigate how Italy can cooperate with Chinese shipyards in the cruise shipbuilding sector; I also put forward some forecasts about future trends backed by consistent data and information emerged from the interview I had with Fincantieri S.p.a. After an overview of the Italian and Chinese cruise shipbuilding markets and their changes over times, I shift my focus on the cooperation between Fincantieri, the major Italian shipbuilding player, and the Chinese shipyard CSSC. These two companies have signed a Joint Venture agreement that has boosted the development of the Baoshan cruise park. This is a new project that aims to create a new cruise park for the boarding and landing of passengers. It also includes an area dedicated to cruise ship construction and refitting, where the Italian know-how and refined design can perfectly match with the Chinese skilled workforce. In conclusion, I analyse the development of Fincantieri in Italy and in China, their business model and the mass customization project they are carrying out in order to meet the different needs of a multifaceted clientele.
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Dandolo, Paola <1994&gt. "The success of Cooperativa Ceramica d'Imola in China: analysis of competitive advantages deriving from Country of Origin effect and Internationalization process." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12344.

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La tesi verte in generale sull'argomento dell'internazionalizzazione delle imprese italiane. Nello specifico verranno prima analizzati aspetti, vantaggi e svantaggi del processo di internazionalizzazione. Successivamente verrà analizzato l'effetto del paese d'origine sul comportamento d'acquisto del consumatore, in particolare la percezione del Made in Italy sui consumatori cinesi. Il caso aziendale analizzato riguarda una cooperativa italiana con presenza sul territorio cinese, il cui nome è Cooperativa Ceramica d'Imola, una tra le prime aziende (se non a prima) ad operare in Cina nel settore arredamento casa con produzione del tutto italian. Dunque partendo dai concetti di internazionalizzazione e Country of Origin Effect, lo scopo è l'analisi dei fattori competitivi di successo di Cooperativa ceramica d'Imola per riuscire a divenire azienda leader nella patria stessa della ceramica.
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Fedel, Sara <1993&gt. "Chinese and African Cooperation: The case of Tanzania." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16315.

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The dissertation concerns the cooperation between China and Africa with a specific focus on Tanzania. It will tell the history of this country, beginning in the 1960s when the country reached its independence and tied relationship with China. China was one of the most influent and the biggest donor country which helped and assisted Tanzania to reach is current state of development throughout the years. The thesis develops chronologically along the time line up until the present and even tries to give a glimpse in to the future, at how the story of the country possibly could evolve.
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Fazzini, Ilaria <1994&gt. "The China Pakistan Economic Corridor: a cooperation through Karakorum Highway." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13870.

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With a long history of friendship, China and Pakistan are forging a closer relation through the China-Pakistan Economic Corridor (CPEC). China is investing US$46 billion to help Pakistan to improve its economic situation. This project is the flagship of the Chinese initiative One Belt and One Road (OBOR) and it will connect the city of Gwadar, on the Arabian Sea, to the city of Kashgar in the Chinese province of Xinjiang. This trade route will facilitate the trade between Central Asia, the Middle East and Africa. The project is meant to help both countries to deal with their problems and interests. This dissertation analyses the implications that the CPEC will have on both Pakistan and China in the fields of economy, infrastructure, energy, security and geopolitics. Will the CPEC be able to improve the future of Pakistan, solve its energy crisis and boost its economy? What are China’s interests in the region and what is it gaining from such huge investments? What will China, Pakistan and the neighbouring countries gain from the CPEC at the end of the project? In order to answer these questions, this study first presents the “all-weather friendship” between China and Pakistan and secondly compares the present economic situation of Pakistan and China with their respective future projections after the end of the project in 2030.
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Bisogno, Giulia <1992&gt. "China in Africa: Win-Win cooperation or a new colonialism? The Western criticism against China's role in sub-Saharan Africa." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14799.

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China’s growing involvement in sub-Saharan African countries, has been the topic of considerable scholarly, media, and even general public attention since 2000, when China established the first summit on China and Africa co-operation. The growing Chinese’s engagement in Africa Sub-Saharan raise concerns about the China’s presence in African countries. Indeed, Western opinion have exacerbated criticism against China, placing the whole world some questions that undermine Chinese reputation: The dissertation in question, will provide the analysis of China’s relation with Sub-Saharan countries through the debate arising between Western and Chinese opinion, focusing attention on a specific period which runs from 2009 to 2018. The first chapter will provide an historical background which purpose is to clarify how China and African countries have strengthened relationship since the beginning of their official engagement. The second chapter will handle with the analysis of China and Sub-Saharan relationship countries through the lecture of two international newspapers which can be considered as a window on the wider world: The Economist and The Guardian. The third chapter will deal with Chinese’ opinion about its own presence in Africa. How China defends its position and reputation against the harsh critics moved by Western concerns? Through the China Daily (Zhongguo Ribao 中国日报), I will provide an analysis of China and Africa contemporary relation from Chinese perspective, considering the debate between China Daily, The Economist and The Guardian
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Berne, Erlend. "Safe, selfish state-independent mobbing behaviour in the cooperatively breeding apostlebird (Struthidea cinerea)." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for biologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-13150.

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In the last few decades stochastic dynamic modeling (SDM) has been used to explore adaptive state-dependent strategies in a whole host of different theoretical problems in behavioural ecology, with considerable success. It has allowed us to better understand cooperative behaviours such as sentinel behaviour, and it might allow us to more fully understand other cooperative behaviours with alternative dynamics. In a recently developed SDM, anti-predator behaviour was examined and a counter-intuitive prediction has emerged: that mobbing effort should be completely independent of state. In this study we test this interesting prediction, using the cooperatively breeding Apostlebird (Struthidea cinerea) as our study species. From October 15th to November 21st in 2009, 6 groups of varying sizes were put through a set of trials, where we used a rubber snake model to elicit mobbing behaviour in experimental trials. A similarly sized stick was used during control trials, wherein birds tended to forage. Behaviour, placement and vocalisation data on an individual basis were gathered in multiple scan samplings per trial in both kinds of treatment. This highly accurate data was then compared with within-individual differences in body mass (state). Several other variables were also considered: sex, age, breeding status, relatedness and mean body mass. Results show that while foraging behaviour was highly state-dependent during controls, no such effect was found in the mobbing effort of the same individuals during experiments. Mobbing effort also did not vary with any of the mentioned phenotypically fixed variables. Our study therefore offers the first empirical evidence of state-independent mobbing.
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Books on the topic "Cooperative cinema"

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The Euro-American cinema. Austin: University of Texas Press, 1993.

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Trade, Canada Dept of Foreign Affairs and International. Culture : audiovisual co-production agreement between the Government of Canada and the Government of the Singapore (with annex), Singapore, November 13 1998, in force November 13, 1998 =: Culture : accord de coproduction audiovisuelle entre le gouvernement du Canada et le gouvernement de la République de Singapour (avec annexe), Singapour, le 13 novembre 1998, en vigueur le 13 novembre 1998. Ottawa, Ont: Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.

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Trade, Canada Dept of Foreign Affairs and International. Culture : audio-visual co-production agreement between the Government of Canada and the Government of the Republic of Cuba (with annex), Havana, April 27, 1998, in force September 1, 1999 =: Culture : accord de coproduction audiovisuelle entre le gouvernement du Canada et le gouvernement de la République de Cuba (avec annexe), La Havane, le 27 avril 1998, en vigueur, le 1e septembre 1999. Ottawa, Ont: Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.

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Canada. Dept. of Foreign Affairs and International Trade. Culture : audiovisual co-production agreement between the Government of Canada and the Government of the Republic of Iceland (with annex), Washington, October 15, 1997, in force February 2, 1998 =: Culture : accord de coproduction audiovisuelle entre le guvernement du Canada et le gouvernement de la République d'Islande (avec annexe), Washington, le 15 octobre 1997, en vigueur le 2 février 1998. Ottawa, Ont: Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.

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Rethinking global sisterhood: Western feminism and Iran. Minneapolis: University of Minnesota Press, 2007.

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Rethinking global sisterhood: Western feminism and Iran. Minneapolis: University of Minnesota Press, 2007.

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Williams, Tami. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0008.

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This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist to abstract. A careful study of Dulac's life and work establishes the importance of her voice in the diffusion and legitimization of French film and film culture, as evidenced through her prolific writings and lectures. She also played a prominent role in several cultural organizations such as the Society of Film Authors (SAF), the French Federation of Cine-Clubs (FFCC), the International Council of Women (ICW), the International Educational Cinematographic Institute(IECI), and the League of Nations' International Committee for Intellectual Cooperation (ICIC), among others.
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Lu, Hong, Qiao Li, and Yanqiu Guan. Development of the Global Film Industry: Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.

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Lu, Hong, Qiao Li, and Yanqiu Guan. Development of the Global Film Industry: Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.

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Lu, Hong, Qiao Li, and Yanqiu Guan. Development of the Global Film Industry: Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.

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Book chapters on the topic "Cooperative cinema"

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"Underground Myths and Cinema Cooperative Realities (Some Concrete Policy Suggestions) [1972]." In Canyon Cinema, 145–48. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940611-046.

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Hansen, Miriam. "Cooperative Auteur Cinema and Oppositional Public Sphere:." In Alexander Kluge, 50–71. Amsterdam University Press, 2012. http://dx.doi.org/10.2307/j.ctt46n2tx.6.

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Brás, Patricia Sequeira. "Post-Fordism in Active Life, Industrial Revolution and The Nothing Factory." In Cinema of Crisis, 76–92. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448505.003.0005.

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I discuss in detail three films produced by Terratreme, a Portuguese film cooperative: Vida Activa (Active Life, Susana Nobre, 2013), Revolução Industrial (Industrial Revolution , Tiago Hespanha and Frederico Lobo, 2014) and A Fábrica do Nada (The Nothing Factory, Pedro Pinho, 2017). Because these three films address the economic/debt crisis vis-à-vis industrial labour, they appear to belong to a long tradition of militant cinema, which, according to Manuel Ramos Martínez, attempts to make ‘visible exploitative working conditions and the brutality of industrial transformations’ as well as ‘make visible and audible the figure of the worker’ (2013: 123). Yet the focus of these films is de-industrialisation, so they more appropriately fit into Martínez’s category of post-Fordist cinema, which refers to films that emerged after ‘the crisis of the Fordist model in the 1970s’ as well as films that are ‘critical of the factory as a site of exploitation and of cinema itself as a medium of audio-visual exploitation’ (Ramos Martínez 2013: 124).
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Neve, Brian. "Our Daily Bread: ‘Cooperation’, ‘Independence’ and Politics in Mid-1930s Cinema." In Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0010.

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This chapter revisits and explores the production history of director King Vidor’s independently made movie, Our Daily Bread (1934), its ideological and aesthetic motifs, and its exhibition and reception in the United States and beyond, not least its apparent failure at the box office. It further considers the relationship between the film and contemporary advocacy of cooperative activity as a response to the Great Depression, notably by the California Cooperative League, Franklin D. Roosevelt’s New Deal, and Upton Sinclair’s End Poverty in California campaign for the state governorship. It also assesses the movie in relation to Vidor’s own cooperative vision through its emphasis on individuals and community as a solution to the Great Depression and the significant absence of the state in this agency.
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"Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to Germany in Autumn." In Alexander Kluge, 50–71. Amsterdam University Press, 2012. http://dx.doi.org/10.1515/9789048513390-004.

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Hart, Adam Charles. "The Camera Virus." In Raising the Dead, 119–43. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197686478.003.0007.

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Abstract This chapter analyzes George A. Romero’s career-long ambivalence toward the cinema itself, from his performance in Jack Gelber’s play The Connection to a mid-1970s unfilmed project called The Footage, a once-lost short film called Jacaranda Joe (1994), a proposed TV version of Night of the Living Dead (1968) in the early 2000s, and the feature film Diary of the Dead (2007). In all of these projects, filmmaking is equated with exploitation and with profiting off the suffering of others, and Romero uses these scenarios to explore the destructiveness inherent not just in film but in art more broadly: turning those around you into material for your art. In The Footage, the exploitation of a TV crew is contrasted with the utopian equality and generosity of the prehuman creatures, a rejection of modern society that appears in various forms throughout his work. Those more pessimistic visions are contrasted with Romero’s feature film Knightriders (1981), which suggests the possibility for a creative community that values collaboration and the ideals of cooperative existence more than the creative project itself.
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Steffens, Theresa, and Thomas Döbler. "User-Generated Cinema." In Advances in Media, Entertainment, and the Arts, 245–63. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6190-5.ch014.

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The rise of Web 2.0 technologies increasingly promotes a new openness of production and services. In contrast to the former production within closed systems, companies have to open up for new ways of value creation. The openness can be implemented either with regard to interdepartmental cooperation or in terms of collaboration beyond company boundaries – in cooperation with other companies (B2B) or with customers or users (B2C). The latter is also known as consumer co-creation, where users participate voluntarily without compensation or treaty-defined tasks. Core challenges are the successful coordination of all participants as well as the trustworthy producer-consumer relationship, irrespective of whether or not a company initiates such a co-creation actively. The chapter analyses the mechanisms of consumer co-creation and discusses the required confidence and motivation on the basis of a case study to explain opportunities and challenges of a user-generated approach to media production.
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Steffens, Theresa, and Thomas Döbler. "User-Generated Cinema." In Open Source Technology, 1841–59. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7230-7.ch093.

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The rise of Web 2.0 technologies increasingly promotes a new openness of production and services. In contrast to the former production within closed systems, companies have to open up for new ways of value creation. The openness can be implemented either with regard to interdepartmental cooperation or in terms of collaboration beyond company boundaries – in cooperation with other companies (B2B) or with customers or users (B2C). The latter is also known as consumer co-creation, where users participate voluntarily without compensation or treaty-defined tasks. Core challenges are the successful coordination of all participants as well as the trustworthy producer-consumer relationship, irrespective of whether or not a company initiates such a co-creation actively. The chapter analyses the mechanisms of consumer co-creation and discusses the required confidence and motivation on the basis of a case study to explain opportunities and challenges of a user-generated approach to media production.
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Chinh, Kiều. "The Cinema Industry." In The Republic of Vietnam, 1955-1975, 165–72. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501745126.003.0015.

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This chapter embarks on a history of Vietnamese cinema as it developed during the Republic of Vietnam period. Due to historical circumstances, Vietnam was deeply influenced by French culture. After the French left, the Republic of Vietnam was assisted by the United States, and American films and English-language films entered the country. In the South, with nearly a million recent migrants from the North, ethnic cultural heritage still remained its unified identity. Talents came from all regions of the country. With these proper first steps, South Vietnam in the First Republic period properly inked the very first page in the history of the national film industry. In addition, the Southern government provided support to help the private cinema industry to recover. International studios were invited into Vietnam to cooperate and help develop the private cinema industry.
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Missero, Dalila. "A Materialist Trajectory in Feminist Filmmaking: Rethinking Labour and Consciousness-raising." In Women, Feminism and Italian Cinema, 139–54. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0012.

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This chapter focuses on Italian feminist filmmakers’ attempt to work in mainstream cinema and television. It reconstructs a variety of experiences, from the radical experiments of collective filmmaking of the Cooperativa Arcobaleno and the Collettivo Femminista Cinema, to feminist attempts to break into commercial cinema, like Sofia Scandurra’s Io sono mia (I am Mine, 1977). Due to practical, political and economic constraints, these feminist attempts to impact on the Italian audio-visual production couldn’t tackle with the structural inequalities that historically affected the film industry.
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Conference papers on the topic "Cooperative cinema"

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Sunil, P. "Performance Analysis of Moving Multi-antenna Relay Cooperation with Hybrid Relaying Scheme in Cooperative Wireless Networks." In 2016 2nd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2016. http://dx.doi.org/10.1109/cine.2016.36.

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Mohanty, Lincoln, Saikath Bhattacharya, and S. S. Singh. "Efficient Energy Management in Mobile MIMO Cooperative Sensor Networks (M-MCSN)." In 2016 2nd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2016. http://dx.doi.org/10.1109/cine.2016.13.

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Kerdsuknirund, S., and S. Kupittayanant. "Effects of Vernonia cinerea L. on uterine contraction in gestational diabetic rats." In 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3400031.

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Huber, R., L. Marcourt, S. Schnee, E. Michellod, J.-L. Wolfender, K. Gindro, and EF Queiroz. "Biotransformations with the enzymatic secretome of Botrytis cinerea combined with organic solvents for the generation of novel complex stilbene derivatives." In 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3399789.

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Righi, D., R. Hubert, A. Koval, S. Schnee, L. Marcourt, E. Michellod, R. Perozzo, et al. "Use of Botrytis cinerea enzymatic secretome to generate original phenylpropanoids derivatives having Wnt inhibition on triple negative breast cancer cells." In 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3399804.

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Reports on the topic "Cooperative cinema"

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Sopein-Mann, Oluwafunmike, Zita Ekeocha, Stephen Robert Byrn, and Kari L. Clase. Medicines Regulation in West Africa: Current State and Opportu-nities. Purdue University, December 2021. http://dx.doi.org/10.5703/1288284317443.

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Ndomondo-Sigonda et al. (2017) observed that there is scarcity of information on human resources (person-nel devoted to regulation of medicines) in the domain of medicines regulation in the sub-Saharan Africa (SSA). The published information on medicines regulation by the National Medicines Regulatory Authorities (NMRAs) in the Economic Community of West African States (ECOWAS) region are no longer current and consistent with the current realities in the NMRAs. In order to reveal this occurrence, show the trends that exist over the years and make appropriate recommendations, data were collected and compared from 2005, 2010 and 2017 research reports on seven regulatory features of the fifteen Members States of ECOWAS. The re-sults show that there was missing information per regulatory feature and country. There was also an overall increasing trend in the number of NMRAs in the region that showed progress with respect to the measured regulatory features - Autonomy (Authority and Legal form), Marketing Authorization), GMP inspection, Quality Control, Quality Management System, Information Management System and Harmonization and International cooperation. People of Africa have a valuable story to tell as it relates to medicines regulation. This report is written by a West African from the perspective of a West African involved in the study and practice of medi-cines regulation by the NMRAs in the ECOWAS.
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Reisch, Bruce, Avichai Perl, Julie Kikkert, Ruth Ben-Arie, and Rachel Gollop. Use of Anti-Fungal Gene Synergisms for Improved Foliar and Fruit Disease Tolerance in Transgenic Grapes. United States Department of Agriculture, August 2002. http://dx.doi.org/10.32747/2002.7575292.bard.

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Original objectives . 1. Test anti-fungal gene products for activity against Uncinula necator, Aspergillus niger, Rhizopus stolonifer and Botrytis cinerea. 2. For Agrobacterium transformation, design appropriate vectors with gene combinations. 3. Use biolistic bombardment and Agrobacterium for transformation of important cultivars. 4. Characterize gene expression in transformants, as well as level of powdery mildew and Botrytis resistance in foliage of transformed plants. Background The production of new grape cultivars by conventional breeding is a complex and time-consuming process. Transferring individual traits via single genes into elite cultivars was proposed as a viable strategy, especially for vegetatively propagated crops such as grapevines. The availability of effective genetic transformation procedures, the existence of genes able to reduce pathogen stress, and improved in vitro culture methods for grapes, were combined to serve the objective of this proposal. Effective deployment of resistance genes would reduce production costs and increase crop quality, and several such genes and combinations were used in this project. Progress The efficacy of two-way combinations of Trichoderma endochitinase (CHIT42), synthetic peptide ESF12 and resveratrol upon the control of growth of Botrytis cinerea and Penicillium digitatum were evaluated in vitro. All pairwise interactions were additive but not synergistic. Per objective 2, suitable vectors with important gene combinations for Agrobacterium transformation were designed. In addition, multiple gene co-transformation by particle bombardment was also tested successfully. In New York, transformation work focused on cultivars Chardonnay and Merlot, while the technology in Israel was extended to 41B, R. 110, Prime, Italia, Gamay, Chardonnay and Velika. Transgenic plant production is summarized in the appendix. Among plants developed in Israel, endochitinase expression was assayed via the MuchT assay using material just 1-5 days after co-cultivation. Plants of cv. Sugraone carrying the gene coding for ESF12, a short anti-fungal lytic peptide under the control of the double 358 promoter, were produced. Leaf extracts of two plants showed inhibition zones that developed within 48 h indicating the inhibitory effect of the leaf extracts on the six species of bacteria. X fastidiosa, the causal organism of Pierce's disease, was very sensitive to leaf extracts from ESF12 transformed plants. Further work is needed to verify the agricultural utility of ESF12 transformants. In New York, some transformants were resistant to powdery mildew and Botrytis fruit rot. Major conclusions, solutions, achievements and implications The following scientific achievements resulted from this cooperative BARD project: 1. Development and improvement of embryogenesis and tissue culture manipulation in grape, while extending these procedures to several agriculturally important cultivars both in Israel and USA. 2. Development and improvement of novel transformation procedures while developing transformation techniques for grape and other recalcitrant species. 3. Production of transgenic grapevines, characterization of transformed vines while studying the expression patterns of a marker gene under the control of different promoter as the 35S CaMV in different part of the plants including flowers and fruits. 4. Expression of anti-fungal genes in grape: establishment of transgenic plants and evaluation of gene expression. Development of techniques to insert multiple genes. 5. Isolation of novel grape specific promoter to control the expression of future antimicrobial genes. It is of great importance to report that significant progress was made in not only the development of transgenic grapevines, but also in the evaluation of their potential for increased resistance to disease as compared with the non engineered cultivar. In several cases, increased disease resistance was observed. More research and development is still needed before a product can be commercialized, yet our project lays a framework for further investigations.
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