Dissertations / Theses on the topic 'Ethical film'
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Thorpe, Matthew. "Moral blindfolds and ethical reflections: imagination, ethics and film." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593919.
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The thesis explores the cormection between the imaginative engagement with narrative fiction films, and the imagination as it is employed in moral reasoning. I begin by describing a variety of imaginative and non-imaginative stances towards fiction in terms of a general internal/external schema. I then describe a similar schema as it applies to engaging with fictional characters - imagining from a subjective and an objective perspective. I argue that in both cases - internal/external, and subjective/objective - an either/or choice between them should be rejected in favour of an account that incorporates both perspectives. The second part of the thesis begins with an account of how the internal! external distinction is related to the question of how, or if, narrative fiction films can be sources of moral knowledge. I consider the idea that films can act as 'thoughtexperimen( S' (the ITE thesis) and find it lacking. I argue, however, that the idea should not be rejected but modified. I do so with reference to Bernard Williams' distinction benveen 'thick' and 'thin' ethical concepts, and I show that re-conceiving fihns as examples of thick ethical concepts meetS the objections that I have levelled at the FTE thesis. It also, I claim, satisfies the condition that if films are to have moral-cognitive value, that value must be tied in a substantial way to their aesthetic properties. I then go on to discuss in chapter four what might seem the most natural ethical function of engaging with fictions - coming to know 'what it's like'. Subjective imagining, or empathising, I argue is not intrinsically beneficial, but becomes so when it is conducted within a more objective context. The final two chapters are a more detailed discussion of Eric Rohmer's series of films Les ConUs ,ilJoreaux/The Moral Tales in which I flesh out some of the theoretical claims of the thesis, and connect them to a tradition of ironic realism exemplified by Rohmer's senes.
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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.
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Belford, Troy A. "Technological and ethical aspects of anthropological film." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3294.
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This thesis demonstrates how factors of technological innovation in filmmaking and anthropological ethical considerations will have an influence over how a particular film will be theorized, created and distributed. The definitions of ethnographic and anthropological film are examined as well as the methods of presenting anthropological information in a film. Technological advances and how they apply to filming, editing and distribution possibilities are also described.
The process of creating my own anthropological films about the Asmat and Korowai developed my thesis argument that technology and ethical sensitivities will have a developmental aspect in creating an anthropological film not only in the shooting of footage but the editing of that footage for audience viewing. The proposed goal of the film will also define what will be filmed and how the filmmaker will adapt to the challenges of the field and the construction of the culture.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology
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Stadler, Jane Megan. "Narrative film and ethical life: The projection of possibilities." Thesis, Stadler, Jane Megan (2000) Narrative film and ethical life: The projection of possibilities. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/52800/.
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This thesis concentrates on the intersections of three fields: ethics, narrative and film. The objective is to describe the ways in which narrative structure is implicated in ethical understanding and, in particular, how cinematic narratives and our interaction with them offer valuable resources for ethical life. Extending existing work on moral philosophy and literature to consider cinema, and phenomenological analyses of film to include ethics, I will argue that furthering theoretical understanding of spectatorial engagement with film sheds light on the practices and processes involved in developing ethical insight. An examination of the complex dynamics of cinematic spectatorship reveals the ethical significance of the embodied, perceptual, imaginative, emotional, and cerebral dimensions of practices of narrative engagement.
The ideas and arguments throughout the thesis arise from and evolve through close attention to specific films, springing from a conception of ethics that emphasises the complexity and contextuality of human interrelatedness. The first chapter offers an overview of the ways in which ethical understanding has been sought in both the content and form of narrative texts. I argue that narrative is a discursive form rich with unique possibilities for furthering ethical insight, and that ethical understanding and the practice of ethical deliberation inescapably involve narration. The second chapter looks specifically at narrative film, suggesting that a phenomenological understanding of the inherently evaluative nature of perception can draw out the ethical implications of both the experience of film spectatorship and the attitude taken by films themselves to the subject matter they embrace. Within this approach to film, spectatorship is understood as an embodied, perceptual experience of intersubjective engagement: a dialogue with the film. Chapter Three concentrates on the ways in which narrative (and the configuring acts involved in narration and narrative interpretation) is central to personal and ethical identity, such that we cannot ‘relate’ to others or be ‘accountable’ for our actions without understanding our lives as narratives.
The remainder of the thesis explores the ethical dimensions of different levels of attentive engagement with film texts. Chapters Four and Five look at the ways in which narrative film elicits the emotional and imaginative involvement of its spectators, considering how these faculties are involved in ethical deliberation. The final chapter describes a practice of ethically attentive engagement conducive to a sensitive and responsive, reflective understanding of self and others, claiming that engagement with cinematic narratives offers a model for ethical attention and concluding by suggesting how narrative engagement can potentially transfigure ethical experience.
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Moore, Abigail. "With Great Power: A Narrative Analysis of Ethical Decisions in Superhero Films." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558570.
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Media & CommunicationM.A.
This study examines ethical decision-making processes as practiced by the cultural mythic hero of our time: the superhero. This study conducts a rhetorical narrative analysis of three key superhero films (The Dark Knight, Captain America: Civil War, Avengers: Infinity War) to locate moments when superhero characters make ethical decisions. The study evaluates their decision-making process using three ethical frameworks selected for their popularity in ethics courses as well as their relevance to the subject material; deontology, virtue ethics, and utilitarianism. Superheroes are famous for doing ‘the right thing’, and the purpose of this study is to determine to what degree these films function as an ethics education tool for the public which consumes them. In other words: do these films have a potential to instruct the viewer in answering ‘what is right’? This study looks closely at the ethical decision-making process in superhero films and determines the ways in which superhero films may indicate a potential for teaching ethical theory when these characters make the moral decisions for which they are famed. This study determined that utilitarianism and virtue ethics are both highly visible in superhero films, but rather than serving as a medium for learning, these films build and glorify a cult of personality. Ultimately, these films create messages which encourage the viewer to blindly accept ethical decisions made by the powerful, and to tolerate – and even crave – a tyrannical ruler. Because of the cultural impact these films have, a propagandistic message like this reaches millions of people, and it is vital to understand what the contents of that message are.
Temple University--Theses
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Makan, Amit J. "Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20093.
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Globally mental health is widely regarded by scholars as a neglected public health issue. Documentary film is recognised as an appropriate medium for addressing social and political issues, and mental health is both of these. Country comparative documentary films on mental health, set in low and middle-income countries, appear to be lacking. Prorgramme for Improving Mental health carE (PRIME) works in five low and middle income countries, two of which were selected for the film (Nepal and South Africa). This was motivated by across continent comparisons, financial and logistical viability within a one year timeframe, global interest and appeal and the support of PRIME colleagues and local country partners. Based on qualitative research including a literature review and 40 indepth interviews with stakeholders, this essay reports on, and critically assesses the ethical and production processes involved in making the documentary film. The essay includes several elements. Firstly, it considers the power relationship between the filmmaker and the subject. Whilst Nichols, Aufderheide and colleagues present useful ethical considerations for making a documentary film, both from the subject and audience perspectives, more care is required when making a film with persons living with mental illness. This is particularly because the subject may not have the mental capacity to consent, and if they do, participating in the media production process could potentially exacerbate their condition. Having weighed these risks up with the benefits of representing persons living with mental illness, and giving them a voice, the decision was made to give persons living with mental illness the opportunity to represent themselves. Secondly, and having made the decision to allow for representation, the various documentary modes (expository, performative, poetic, observational, reflexive, participatory) conceived by Nichols were explored, in an attempt to identify a conceptual framework for the film. The performative mode was most appropriate for telling deeply personal stories, and providing patients with an opportunity to be represented. However, this mode was ideally complemented with elements of the expository (verbal commentary of experts), poetic (use of rhythm, emotion and music), observational (footage of patients in their daily routines, and of their environment for cutaways) and participatory (through direct engagement between filmmaker and subject) modes. 2 Having identified a conceptual framework, the third element involved the institutional research ethics processes. These processes contributed to a more ethically sensitive film production. This included a check for mental health service users to ensure that they do have the capacity to consent. The process of developing a research protocol highlighted the synergistic benefits of integrating a qualitative research method in the form of in-depth interviews into the film production process (and vice versa), whilst remaining cognisant of not compromising research findings for more visually appealing footage. Following a research process for the production also contributed to a more robust discussion guide after translating communication objectives into research objectives. Finally, the process of implementing the film's production, and post-production, was assessed. A host of steps were identified, which included securing the funding for the filmmaking, establishing stakeholders support, briefing the crew on the vision and purpose of the documentary and having access to equipment and translators. During the post production process, a systematic approach to editing using a script outline was helpful in identifying main themes, and to ensure the narrative flow. Despite its typical use in fictional filmmaking, the three-act structure was fitting as a framework for the narrative. Timecoding during translation and transcription was found to be particularly expedient for inserting English sub-titles. The country comparative approach revealed similaries and differences, and developing and implementing stakeholder specific distribution strategies (including conferences, symposia, film festivals and broadcasters) was identified as critical to the public dissemination and reach of the film. Documentary film, and the performative mode complemented by other modes, has shown to be an advantageous means of representing persons living with mental illness, and their families. However, the paper calls for more evaluation research regarding the impact of the film on the main patient characters, amongst other stakeholders such as health workers and policy makers. The paper also proposes the integration of media production into a research process for researchers interested in using this medium to visually communicate their research findings, emphasising the value of systematically using the research findings to develop a narrative script in the context of a typical three act structure. A distribution strategy was also identified as necessary to maximise the research and stakeholder impact of the film.
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Salti, Rafa. "Ethical Fashion Branding : Multiple Case Studies of Mission Statements and Fashion Films." Thesis, Stockholms universitet, Modevetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151427.
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This paper is an attempt to identify new ways to improve consumer’s response to ethical fashion branding through written mission statements and fashion films. It examines material by three fashion brands: H&M, Stella McCartney and People Tree. Additionally, it reviews and summarizes findings of previous literature in the field of ethical and sustainable fashion branding and builds a list of principal factors that play in the success of ethical fashion branding. The paper concludes with providing recommendations to improve the branding of each case study.BA Thesis
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McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
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This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
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McDaniel, Kyle Ross. "Reviewing the image of the photojournalist in film how ethical dilemmas shape stereotypes of the on-screen press photographer in motion pictures from 1954 to 2006 /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4997.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 7, 2007) Includes bibliographical references.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Jansson, Meyer Britt-Marie. "Filmberättandets kraft : om att vara pedagog och konstnärlig ledare i skolan." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-16652.
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This essay follows a Media Teacher in her work as a coordinator and an artistic leader for a European project called Legalopoli concerning laws and ethics in a senior level school for 13-16 year-olds in Mora, Sweden. The students write film stories about how their characters have to make choices in ethical dilemma situations. Then the learners create interactive computer games together through practical film work. At the same time we can see how the educator also gets into difficult ethical situations, when she is working with the students. This forces her to self-reflection. She realizes that the practical knowledge in her work has a greater deal of an ethical dimension, than she earlier has been aware of. She understands that the convincing force in the project consists of the confidence and trust she has to create and develop among the students, who, in the start, were unsure and lacked in respect for one another. Through the practical film work they all get close and learn to see both themselves and each other. The students develop from being afraid of saying anything in the group to become confident and capable media producers, where their voices get listened to. They have started a journey into becoming democratic and caring citizens with wider perspectives of themselves and of the world.Denna essä följer en mediepedagogs arbete som koordinator och konstnärlig ledare för ett Europeiskt projekt kallat Legalopoli, om lagar och etik i en högstadieskola i Mora. Eleverna skriver filmberättelser om rollkaraktärer, som ställs inför olika etiska dilemman i det interaktiva dataspel, som studenterna gemensamt skapar genom praktiskt filmarbete. Samtidigt får vi följa hur pedagogen på samma sätt, ställs inför olika svåra valsituationer i det pågående arbetet med eleverna. Hon tvingas till självreflektion och inser att den praktiska kunskapen i hennes arbete innehar en större etisk dimension än hon tidigare trott. Hon inser att bärkraften i projektet är det förtroende och den tillit, som hon måste skapa och utveckla bland eleverna, som från början var osäkra och betedde sig respektlöst mot varandra. Genom det praktiska filmarbetet kommer de alla nära varandra och får efter hand syn på både sig själva och varandra. Eleverna utvecklas från att ha varit rädda för att yttra sig i gruppen, till att bli tillitsfulla och kapabla medieproducenter, där de får göra sina röster hörda. De påbörjar en bildningsresa till att bli demokratiska och solidariska medborgare med vidgade perspektiv på sig själva och världen.
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Viggiano, Andrea <1976>. "Moral explanations and ethical naturalism." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/325/.
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de, Groot Niels, and Jimmy Antonsson. "Ethics in Family Businesses and Venture Capital Firms : How managers manage ethical considerations and steer behavior." Thesis, Umeå universitet, Handelshögskolan vid Umeå universitet, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-57111.
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Business ethics is a fragmented and well covered scientific field. This Master thesis study concerns two type of organizations, namely family businesses (FB’s) and venture capital firms (VCF’s), in relation to the ethical decision-making process, which is a relatively undiscovered field. The study is conducted in the way it sheds a light on the influences on a manager when taking decisions concerning ethical considerations. Important scholars such as Colby and Kohlberg (1987) and Rest et al. (1999) framed the field of moral development of individuals, and what makes managers unaware of their unethical decisions (Bazerman, 2008). However, a manager’s possibility to take decisions is also influenced by organizational factors and actors. The type of management and ownership structure, and the expectations these actors have with regard to profits, as well as situational factors such as business strategy, maturity of the company, human and financial resources and market position are shaping the environment and possibility for managers to pursue ethical behavior because they affect the decision-making process.The purpose of this study is to understand how managers in FB’s and VCF’s manage ethical considerations. The creating of the conceptual framework was used as a foundation to visualize how ethical behavior is constructed, while the focus laid on the influences and possibility to take decisions including ethical considerations and content. While performing this research, we have conducted eight semi-structured interviews with managers in three VCF’s and two FB’s in Sweden. The respondent companies and interviewees remain anonymous. We did that to increase the chance of honest and unbiased answers since we saw a risk to receive adjusted and image improving responses.The empirical findings show that the VCF’s do not pay attention to ethical considerations in the same extent as FB’s do. Discovered reasons were lack of time and know-how, financial and human resources, business maturity and the fact that they were to generate a high ROI to the venture capitalist. Such a relationship makes the managers focus on profit maximization and short term objectives rather than ethical considerations. The two FB’s did have an ethical code of conduct with the employees and was constructed in order to fulfill acceptance, integration and efficiency with this management tool. The ethical codes of conduct were created with the goal to steer behavior and ensure ethical commitment in certain areas of interest. The major finding is that situational factors either suffocate or give room for ethical considerations in companies when taking decisions.In particular, this research contributes to the field of business ethics and VCF’s in general, but also with regard to FB’s. The results of this thesis are constructed in the decision-making model which is different than the ethical decision-making model we constructed based on the theoretical research. However, reality did not allow us to recognize the fragmented patterns we interpreted from the theory. We therefore created a new top-down model which takes the need for a decision in companies into account, the actors and factors in the organization, the situational factors that influence the happenings in the organization and the outcome of the decision, which possibly contains ethical considerations and content. With the improved model we visualize the decision-making process while taking influences towards ethical decision-making into consideration and visualize organizational reality as we discovered it.Key words: business ethics, ethical considerations, ethical code of conduct, moral awareness, ethical decision-making, ethical behavior, family business, venture capital firm, profit maximization, shareholder preferences.
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Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film." Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.
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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.
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Blackall, David. "John Perceval an ethical representation of a delinquent angel /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050215.154037/index.html.
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Thesis (Ph.D.)--University of Wollongong, 2004.Typescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.
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Weys, Daniël Jan. "Responsible filmmaking: ethics and spectatorship through the lens of Michael Haneke." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/24933.
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My dissertation uses, as starting point, an interview with Michael Haneke in which the Austrian filmmaker criticises Downfall and Schindler's List for manipulating audiences and for generating entertainment from real-life and unspeakable horrors. He argues that filmmakers have a responsibility to enable audiences to form their own opinion regarding a film and its subject matter. I set forth to engage, theorise and develop Haneke's call for responsibility by asking the following questions as I move chronologically through his films: why is responsible filmmaking important, how does Haneke approach his own filmmaking and how does a responsible approach to filmmaking influence the position of spectators. Firstly, I draw from Stanley Cavell's film theory to read our current experience in a media saturated society, describing the ways in which the media positions and influences the characters' understanding of the world and their relationships with each other in The Seventh Continent, Benny's Video and 71 Fragments of a Chronology of Chance. Thereafter, I discuss Haneke's use of genre in Funny Games, the long take and continuity editing in Code Unknown, music in The Piano Teacher and sound in Time of the Wolf to analyse Haneke's approach to filmmaking. My readings are underpinned by Cavell's understanding of automatism and the manner in which Haneke uses and reflects upon film's automatisms. Finally, I illustrate Levinas' concept of responsibility for the Other through a reading of Georges and Majid's relationship in Caché, Kelly Oliver's work on witnessing in The White Ribbon and Judith Butler's work on responsibility in Amour in order to demonstrate how Haneke's responsibility ensures the audience's response-ability.
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Wheatley, Catherine. "Michael Haneke's critical aesthetic and the ethics of film spectatorship." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487152.
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Responses to Austrian filmmaker Michael Haneke's work are laden with ethical inflections - as is expressed in the critical reception of the films. However, existing critical traditions fail to fully account for the impact of Haneke's oeuvre, situated as it is between int~llectual projects and popular entertainments. For while philosophy and film studies have for some years now been intersecting, the ethics of spectatorship remains critically understudied. More significantly, previo~s approaches to the subject of ethics and film have tended to focus on the morality 'of the diegetic universe within a film, using film to illustrate philosophical concepts (Carney, 1986; Brill, 1988) or to raise questions of ideology and film form, mobilising ethics primarily in service of political concerns (Mulvey, 1973; Wollen, 1979). In order to discuss Haneke's films then, and to understand the peculiar impact they have upon their audiences, a new critical framework is needed; one which straddles, but also moves beyond, existing frameworks. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, this thesis introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the filmviewing experience. Taking Haneke's films as the object of empirical inquiry, it posits the theory that by foregrounding a conflict between activity and passivity, reason and emotion, which is implicit in the great majority of spectatorship theory, Haneke is able to offer the spectator a filmviewing position that is radically different to that in which other models offilmmaking place him. Rationally aware of his subjective position but nonetheless engaged with the film's events, the spectator of Haneke's films is forced to negotiate his relationship to the film autonomously. The unprecedented freedom that Haneke's films accord him thus carries with it a considerable burden of responsibility which refuses him any possibility of seeking refuge from the world in the darkness of the cinema. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principle subject ofthis study.
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Melzer, Kym M. "Impact and Documentary Filmmaking: Ethical Reflections On A Practice Based Study." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/387285.
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In this exegesis I examine my creative project, a series of seven short documentary films
entitled The Ripple Effect of PTSD (Melzer 2016a), and its impact on community, on the
film participants, and on me as a filmmaker. The films document the experience of
caregivers and family members of veterans with Post-Traumatic Stress Disorder (PTSD).
The exegesis is framed by the literature on ethics and documentary film. In the first data
chapter, I detail the work of building a community for my films, engaging with impact
partners and producing a series of educational videos about PTSD. Also catalogued in
this chapter is the success of the films. They were selected for film festivals, elicited
positive feedback from the general public and were shared multiple times online. The
following chapter discusses the impact of the creative project on the participants,
highlighting their agency and empowerment as well as vulnerabilities. The discussion
reveals the complex and multifaceted nature of power in documentary filmmaking. From
impact on participants I move to consider the impact of the filmmaking process on me as
a filmmaker drawing on the notions of ‘vicarious trauma’ and ‘emotion work/emotional
labour’. I demonstrate that the fraught subject matter of the films, the distress of
participants, and my novice status as a filmmaker exposed me to vicarious trauma. I
further explain how different aspects of the filmmaking process, such as accessing and
interviewing participants, and negotiating with the military, necessitated significant
emotional labour. In the concluding chapter of the exegesis I highlight the key findings
of research. Of particular importance is my illumination of the emotional dimensions of
film production. I argue that quality documentary production requires significant
emotional labour on behalf of a filmmaker, but the implications of this emotion work are
rarely acknowledged in the literature. As such, I argue for the importance of expanding
documentary filmmaking and ethics research to include a focus on the emotional health
and wellbeing of the filmmaker.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Lange, Shara K. "Teaching Media Ethics via Production." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3654.
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Stevens, Jeri W. "Perception of counselor ethical behavior a quantitative look at dual relationships in Maine /." Restricted access (UM), 2008. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.
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Schilt, Paige Eileen. "Fables of authority : ethics, power, and authenticity in contemporary documentary film /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Lange, Shara K. "Integrating Media Ethics and Production." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3665.
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Excerpt: Ethics has always been part of a Mass Communication core, but I wondered what rethinking production courses. What if instead of teaching ethics separately, we considered an educated media-maker as one who makes ethical decisions at each step of the process--before taking a camera out of the case, before hitting record, before posting a single frame online? What if we taught video production this way in order to emphasize the power, responsibility and risk inherent in each choice.
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Nordle, Ryan. "Ethics in Iran: Jacques Lacan and the Films of Abbas Kiarostami's "Koker Trilogy"." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1067.
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In 1900, Sigmund Freud published The Interpretation of Dreams, establishing climacteric concepts for psychoanalysis and creating a structure upon which he built the theory and his career. 20 years later, he had entirely revised these concepts that solidified the foundation of psychoanalysis. In Beyond the Pleasure Principle (1920), Freud notably theorizes the ‘death drive’ for the first time, a radical but necessary break from the economics of the pleasure principle. Often, the death drive is taken to be the most important contribution of this essay, but I argue that the lasting message to be gleaned from Freud is what he concludes Beyond the Pleasure Principle with: “We must be ready, too, to abandon a path that we have followed for a time, if it seems to be leading to no good end. Only believers, who demand that science shall be a substitute for the catechism they have given up, will blame an investigator for developing or even transforming his views.” In this thesis, I argue that we can develop a necessary Ethic from this way that Freud approached the formation of his work. Drawing on the further developments from Jacques Lacan, I claim that one can take theory of the gaze as an ethical moment: the point at which one is faced with a disruption that they are tasked to carry out “to see where it will lead,” as Freud puts it. Further, I utilize this formation of the Ethic to read the films of Abbas Kiarostami’s “Koker trilogy” to highlight the points at which we can locate the characters, form, and content of these films as realizations of such ethical moments.
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Swanson, Stephen. "The stranger in the dark the ethics of Levinasian-Derridean hospitality in noir /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182190991.
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Cai, Xiao [Verfasser]. "The crystal of everyday life : The ethics of witness in Hou Hsiao-hsien's films / Xiao Cai." Mainz : Universitätsbibliothek Mainz, 2016. http://d-nb.info/1110918267/34.
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Black, Elton M. "Assessing the impact of ethical orientation on the dimensions of entrepreneurial orientation in the Namibian small firm." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/95632.
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Thesis (MBA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: Namibia’s economic success is largely determined by the success of its small and medium enterprise sector. The contribution of this sector to the Namibian gross domestic product is a function of its entrepreneurial vigour. It is well documented that an organisation’s entrepreneurial leadership competency makes for higher profitability. What is less commonly known, however, is that this complex entrepreneurial leadership construct includes a vital ethical component. This study has aimed to shed light on the relationship between entrepreneurial and ethical orientation, both sub-constructs within the larger entrepreneurial leadership construct. An in depth theoretical discussion on both entrepreneurial and ethical orientation is offered. Prior research on both orientations is consulted to provide the necessary theoretical background. The study concludes by commenting on the existence of a relationship between the dimensions of entrepreneurial orientation.
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Straw, Mark Christopher. "The damaged male and the contemporary American war film : masochism, ethics, and spectatorship." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1711/.
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This thesis is about the depiction of the damaged male in contemporary American war films in the period 1990 to 2010. All the films in this thesis deploy complex strategies but induce simple and readily accessible pleasures in order to mask, disavow or displace the operations of US imperialism. It is my argument that the premier emotive trope for emblematising and offering up the damaged male as spectacle and political tool is the American war film. I also argue that masochistic subjectivity (and spectatorship) is exploited in these films, sometimes through using it as a radical transformative tool in order to uncover the contradictions and abuses in US imperial power, but mostly through utilizing its distinct narrative and aesthetic qualities in order to make available to spectators the pleasures of consuming these images, and also to portray the damaged male as a seductive and desirable subjectivity to adopt. The contemporary war film offers up fantasies of imperilled male psychologies and then projects these traumatic (or “weak”/“victimised”) states into the white domestic and suburban space of the US. Accordingly this enables identification with the damaged male, and all his attendant narratives of dispossession, innocence, and victimhood, and then doubles and reinforces this identification by threatening the sanctity and security of the US homeland. My argument builds towards addressing ethical questions of spectatorial passivity and culpability that surround our engagement with global media, and mass visual culture in the context of war. I ultimately identify ethical spectatorship of contemporary war films as bolstering a neo-liberal project advancing the “turn to the self”, and hence audiences could unwittingly be engaged in shoring up white male ethno-centricity and the attendant forces of US cultural and geopolitical imperialism.
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Swanson, Stephen C. "The Stranger in the Dark: The Ethics of Levinasian-Derridean Hospitality in Noir." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182190991.
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Dočkalová, Dagmar. "Podnikatelská etika v bankovnictví." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2008. http://www.nusl.cz/ntk/nusl-221992.
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The diploma work addresses the application of ethical code into banking. It deals with business ethic and ethical code of Československá obchodní banka, Inc. The thesis analyses the original ethical code of the bank and engages in the implementation of the new ethical code which includes, among others, “The Whistle Blowing Policy”. The diploma work brings a cross-sectional survey of the employees of Československá obchodní banka, Inc. about their awareness and ability to fulfil the principles of the ethical code. The bank was recommended possible solutions based on the results of the survey.
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Hrehor, Kristin A. "Violent Content in Film: A Defense of the Morally Shocking." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/537004.
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PhilosophyPh.D.
Violent content in film has been extensively debated from a myriad of different perspectives, and both within and across a number of different disciplines. Oftentimes, the more violent the content that a film contains, the more likely such content is considered to negatively detract from the value of the work in question. However, this dissertation provides an argument to the contrary with respect to a specific set of cinematic examples and a particular way in which violent content is represented within them. In what follows, I argue that there are grounds to believe in the philosophical value of engaging with works that “morally shock” their audiences through the representation of violent content. First, by analyzing a combination of works ranging from the more conservative American classic Deliverance (1972) to the more controversial French avant-garde Irréversible (2002), I provide a case for reclassifying violent films into different genres, only one of which contains films which elicit a particular kind of response that I single out for further examination. In considering the implications of our responses to these “morally shocking” films, I provide a foundation against which such films can be considered to have a distinct kind of philosophical value by exploring their significance with respect to: (1) issues of interpretation and value in the philosophy of film, (2) recent developments in research on moral judgment, and (3) arguments both for and against the idea that film can be thought of as a kind of philosophy. Ultimately, I argue that our response of moral shock to the content of these films has the subversive effect of destabilizing our moral orientation and consequently motivating philosophical reflection in innovative ways.
Temple University--Theses
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Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.
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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.
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Mildenberger, Carl David. "Das "Ethics Officer"-Konzept in amerikanischen Unternehmen - Vorbild für Europa?" St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/03606324001/$FILE/03606324001.pdf.
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Tang, Ching Hay. "Rereading Michel Foucault's genealogy of power through Johnnie To's film." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/818.
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Bates, Vincent Cecil. "Moral Concepts in the Philosophy of Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1082%5F1%5Fm.pdf&type=application/pdf.
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Deniozou, Iris. "La restauration des films : élaboration et application de l'éthique dans le contexte technologique actuel : l'exemple de Lola Montès de Max Ophuls (1955)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010695.
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Cette thèse propose une déontologie de la restauration des films s’appuyant sur la théorie de la restauration des œuvres d’arts plastiques et sur les recherches des nombreux archivistes du cinéma qui, depuis trente ans, tentent de formuler des principes éthiques pouvant s’appliquer à leur métier. La théorie développée prend en compte l’ensemble de l’histoire technique du cinéma et, de cette manière, de la situation actuelle, où l’art cinématographique passe de l’ère analogique à l’ère numérique. Ce travail a notamment comme but de constater dans quelle mesure et de quelle manière une théorie éthique de la restauration des films est applicable dans le contexte technologique actuel. Les enjeux éthiques qu’engendre ce changement radical du paysage cinématographique et patrimonial sont analysés, la restauration du film Lola Montès (Max Ophuls, 1955) étant choisie comme étude de cas dans le même but. Afin de porter une analyse critique sur ce projet, présenté par la Cinémathèque française en 2008, l’histoire du film – depuis sa création jusqu’à sa dernière diffusion – est longuement étudiée. De nouveaux éléments concernant son parcours particulièrement agité sont d’ailleurs révélés, grâce à la consultation de documents encore inédits. L’urgence de la création d’une charte éthique de la restauration des films, détaillée, rigoureuse et actuelle, sous l’égide des instances patrimoniales internationales, le besoin d’une formation continue à la fois technique et déontologique pour le personnel des archives, et l’importance du développement de la recherche sur les technologies cinématographiques anciennes, constituent les idées fondamentales que ce travail entend mettre en valeurThis thesis proposes a deontological ethics of film restoration based on the theory of restoration of works of art and the research of numerous cinema archivists for over thirty years attempting to formulate the ethical principles that can be applied to their profession. The developed theory takes into account all of the technical history of cinema and, as such, the present condition where the cinematographic art passes from the photochemical and analogue era to the digital era. The main purpose of this work is to ascertain the extent and the way in which an ethical theory of film restoration is applicable in the current technological context. Ethical issues generated by this radical change in the film and heritage landscape are analysed; the restoration of the film Lola Montes (Max Ophuls, 1955) is chosen as a case study for this purpose. In order to construct a critical analysis of aforementioned digital project, presented by the French Cinemathèque (Cinémathèque française) in 2008, the history of this film - from its creation until its last broadcast - is extensively studied. New information concerning its particularly agitated course of life is also revealed, through consultation of yet unpublished documents. The urgency for creating a code of ethics for the detailed, accurate and contemporary restoration of films, under the aegis of international heritage bodies, the need for both technical and deontological ongoing training of the archive staff, and the importance of the development of research in older film technologies constitute the basic ideas around which this work evolves
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Ampofo, Akwasi Amankwaah. "Two Essays on Capital Structure Decisions of the Firm: An Empirical Analysis of the Impact of Managerial Entrenchment and Ethical Corporate Citizenship." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/103152.
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This dissertation consists of two essays on the impact of managerial entrenchment and ethical corporate citizenship on capital structure decisions of the firm. The first essay examines the impact of managerial entrenchment on financial flexibility and capital structure decisions of firms. Agency conflicts and asymmetric information between managers and shareholders of firms exacerbate managerial entrenchment, which is operationalized using the entrenchment index. The excess cash ratio of a firm over the median cash ratio of firms within the same 3 digits SIC code is the proxy for financial flexibility. Capital structure decisions include the extent and maturity of debt as proxied by debt-to-equity ratio, and average debt maturity respectively. Results indicate that compared to managers who are not entrenched, entrenched managers obtain less rather than more debt, and they use long-term rather than short-term debt maturity. Also, entrenched managers keep more excess cash than managers who are not entrenched. This is especially the case for firms in small and large market value groups compared to medium sized firms. Results do not change before, during, and after the 2008 global economic crisis.
The second essay examines the impact of ethical corporate citizenship and CEO power on cost of capital, and firm value in the context of stakeholder theory. Firms listed as World's Most Ethical Companies (WMECs) exemplify ethical corporate citizenship, which is operationalized as a binary variable of 1 for WMECs, and zero for non-WMECs. This paper matches WMECs and non-WMECs control firms in the same 3 digits SIC code, and within 10 percent of total assets. CEO power is primarily measured using CEO pay slice calculated as CEO total compensation as a percentage of top 5 executives of the firm. Powerful CEOs have pay slice above the 50th percentile, and weak CEOs pay slice is below the 50th percentile. Tobin's q is the proxy for firm value, and cost of capital is measured as the market value weighted cost of debt, and cost of equity. Results indicate that WMECs have neither lower cost of capital nor higher Tobin's q than matched control sample of non-WMECs. Firms led by powerful CEOs have significantly lower cost of debt capital, and lower industry-adjusted Tobin's q than firms led by weak CEOs. The negative impact of CEO power on firm value is consistent with agency theory that self-interested CEOs extract firm value for personal advantage, subject to managerial controls. Results have implications for research and practice in capital structure, corporate governance, CEO compensation, and corporate social responsibility.Doctor of Philosophy
This study consists of two essays. Essay 1 examines the impact of managerial entrenchment on financial flexibility, and leverage decisions of the firm. Managerial entrenchment is measured using the entrenchment index. The excess cash ratio of a firm over the median cash ratio of firms measures financial flexibility. Capital structure decisions include the extent and maturity of debt as measured by debt-to-equity ratio, and average debt maturity respectively. I find that entrenched managers use less debt than managers who are not entrenched. Also, entrenched managers prefer using long-term rather than short-term debt, and they keep more excess cash than managers who are not entrenched. This is especially the case for small and large firms compared to medium sized firms. Essay 2 investigates the impact of ethical corporate citizenship and CEO power on cost of capital, and firm value. Ethical corporate citizenship (ECC) refers to firms' commitment to a culture of ethics, effective governance, leadership, and innovation. ECC is measured as a binary variable of one if a firm is listed on World's Most Ethical Companies (WMEC), and zero otherwise. CEO power is primarily measured using CEO pay slice that is calculated as CEO total compensation as a percentage of top 5 executives of the firm. Powerful CEOs have pay slice above the 50th percentile, and weak CEOs pay slice is below the 50th percentile. WMECs and non-WMECs in the same 3 digits standard industry classification, which have similar total assets as the WMECs are compared. I find that WMECs have neither lower cost of capital nor higher Tobin's q than non-WMECs. Powerful CEOs often utilize their influence to reduce cost of debt capital, but also reduce firm value compared to weak CEOs. Self-interested CEOs who extract firm value for personal advantage partly explains the negative effect of CEO power on firm value.
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WONG, Ho Yin. "Corporate social responsibility and firm performance : evidence from China." Digital Commons @ Lingnan University, 2012. https://commons.ln.edu.hk/acct_etd/16.
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A series of China’s product safety scandals have recently aroused global concerns over the business ethics and corporate social responsibility (CSR) in China. General public believe that companies have a responsibility towards the society that goes beyond their obligation of maximizing profits. The aims of this research are to understand the development of CSR in China over the past few years and measure the effects of CSR on firm performance by examining the standalone CSR reports for the period 2008-2009. The latest data indicate that Chinese companies have been making progress in their CSR practices. The results of this study show that the prior financial performance is positively associated with CSR disclosure and the CSR disclosure has a significant and positive effect on the firm financial performance in the next year.
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Hickey, James William. "Cinemaesthetics : a college-level curriculum in film and communication theory, aesthetics and ethics, critical thinking, reading, and articulation skills /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10992649.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1990.Typescript; issued also on microfilm. Sponsor: Carla Seal-Wanner. Dissertation Committee: Robert McClintock. Includes bibliographical references: (leaves 176-178).
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Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.
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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit
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Butler, Jayna D. ""You've Got to Be Carefully Taught": Reflections on War, Imperialism and Patriotism in America's South Pacific." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3812.
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Underneath the romance, comedy and exoticism, South Pacific is a story that questioned core American values, exploring issues of race and power at a time when these topics were intensely relevant-the original opened just four years post WWII, on the heels of Roosevelt's aggressive expansionist response to domestic instabilities. Much has been written about the depiction of war and racial prejudice in South Pacific. However, examining such topics in the context of their cultural and political moment (both in 1949 and 2008) and through the lens of Terry Eagleton's unique take on morality, is not only a fascinating study, but an intensely relevant and unchartered endeavor. This work concerns the evolution of an American code of ethics as it has been reflected and constructed in both Broadway productions of Roger and Hammerstein's South Pacific (c.1949, 2008). Specifically, it examines the depiction of WWII, America's imperialistic foreign policy, and the function of American patriotism in light of Terry Eagleton's theories surrounding an evolving code of ethics in 20th/21st century America. By so doing, this thesis uncovers answers to the following questions: What were the cultural and political forces at work at the time South Pacific was created (both in 1949 and 2008), and how did these forces influence the contrasting depictions of war, imperialism and patriotism in each version of the musical? In what ways were these productions reflective of a code of ethics that evolved from what Eagleton would classify as moral realism (prescriptive of behavior) to moral nihilism (reflective of behavior)? How did the use of this increasingly reflexive moral code make this politically controversial musical more palatable, and therefore commercially viable during the contrasting political climates of WWII and the recent war on Iraq? Determining answers to questions such as these enables us as a society to look back on our history-on our mistakes and triumphs-and recognize our tendency to find pragmatic justification for our actions rather than acknowledging the possibility of the existence of objective truth, which remains unchanged through time and circumstance.
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Fadul, Javier. "Business Ethics, Corporate Social Responsibility, and Firm Value in the Oil and Gas Industry." ScholarWorks, 2004. http://scholarworks.waldenu.edu/dilley/1.
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This study investigated the relationship between ethical performance, corporate social responsibility, and firm value in companies in the oil and gas industry. Ethical behavior and social responsibility were conceptualized by a series of social indexes used to carry out empirical observations. The data were collected from a sample of 55 companies drawn from the population of companies in the oil and gas industry and consisting of public documents, including proceedings of government bodies and court records, and newspapers and magazines dated from January 2000 through December 2003. The set of social indexes was analyzed statistically to establish any significant relationship with the firm's value. The results indicated that ethical performance was positively and significantly correlated with firm value, as measured by return on equity in the exploration and production sector of the industry. In addition, diversity was positively and significantly correlated with firm value, as measured by approximate Tobin's Q ratio in the equipment and services sector. The results of the study corroborated the economic importance of managers leading a socially responsible business operation by aggressively pursuing in their companies goals of zero emissions, zero environmental damage incidents, increased diversity in the workplace, and zero incidents of unethical behavior.
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Hultgren, Daniel. "Etik och moral i film : En studie om filmers relevans i undervisningen." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-45833.
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The purpose of this religious didactic study is to investigate how ethics and moral can be interpreted in three different movies. The purpose behind this study is to get a better understanding of how these movies could be used in the subject religion within the college school system. This study of use a qualitative method analysis when studying the films, where the films are interpreted from three different ethical theories such as Utilitarianism, Virtue ethics and Deontological ethics. The quantitative method focuses on social convention in order to fully understand the bigger picture. The social aspects are relevant since this study will examine to see if the movies are fit to be material in the classroom. In order to make this clear I will tie the movies to the college pass marks for the subject Religion. Due to this, the control documents and the curriculum will be tied into the use of the movies in order to give teachers a better understanding of what purpose the film will fulfill.
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Bolton, Matthew E. "A Rhetorical Approach to Adaptation: Effects, Purposes, and the Fidelity Debate." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315967449.
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Greppin, Carl H. "Why Do People Bribe and is it Worth it? A Mixed Methods Study of Bribing Antecedents and Outcomes in Former Soviet Countries." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1580469109540241.
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Silva, Caio Monteiro. "A Ãtica nas famÃlias contemporÃneas: reflexÃes sobre o ser e o outro ser a partir dos filmes Abril DespedaÃado e Boyhood." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19211.
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FundaÃÃo de Amparo à Pesquisa do Estado do CearÃA presente dissertaÃÃo tem como tema de investigaÃÃo a Alteridade nas FamÃlias ContemporÃneas, dessa forma, objetiva refletir sobre o lugar do Outro na famÃlia a partir das contribuiÃÃes do pensamento de Emmanuel LÃvinas em sua Ãtica da alteridade radical. Apresenta como problema de partida as mudanÃas experimentadas nas sociedades contemporÃneas, principalmente no que diz respeito Ãs relaÃÃes de confianÃa. As sociedades contemporÃneas, com suas caracterÃsticas especÃficas em relaÃÃo Ãs modernas, apresentam alteraÃÃes nas experiÃncias de tempo e espaÃo. Tais modificaÃÃes tornaram possÃveis saberes e tÃcnicas que parecem incidir sobre uma perspectiva de administraÃÃo da vida, tendo impactos sobre a forma de interaÃÃo contemporÃnea. A relevÃncia deste trabalho se dà a partir da posiÃÃo centrada e destacada que a famÃlia ocupa no cenÃrio contemporÃneo. Os sistemas peritos e abstratos â sistemas de excelÃncia tÃcnica e de competÃncia profissional que ordenam o ambiente social e material em que vivemos â, na contemporaneidade, parecem investir no grupo familiar e adentrÃ-lo, tornando importante uma discussÃo a respeito de seus alcances e limites em relaÃÃo aos membros da famÃlia e, consequentemente, de como este grupo, em especÃfico, posiciona-se ante a alteridade. A metodologia utilizada se baseia nas contribuiÃÃes da anÃlise fÃlmica, da Antropologia Visual e na anÃlise da imagem, para que, atravÃs da visualizaÃÃo de obras cinematogrÃficas tomadas como documentos da cultura, possam ser tocados os elementos necessÃrios para essa investigaÃÃo. Os filmes Abril DespedaÃado e Boyhood sÃo analisados e foram escolhidos por suas temporalidades e espacialidades distintas com o objetivo de contemplar a diversidade das configuraÃÃes familiares, bem como traÃar um paralelo entre aspectos de permanÃncia e transiÃÃo nos conjuntos familiares. As obras destacadas permitem a visualizaÃÃo dos momentos de reproduÃÃo dos esquemas sociais mais abrangentes reiterados pela famÃlia, bem como os momentos de impugnaÃÃo destes mesmos esquemas, apresentando um sentido Ãtico tal qual nosso horizonte teÃrico fundamentado na Ãtica da alteridade radical. Abril DespedaÃado apresenta um cenÃrio de transiÃÃo de um modelo familiar tradicional situando-se em um contexto rural, jà Boyhood transcorre em um entorno eminentemente urbano passando por diversos modelos de associaÃÃo familiar.
This dissertation has as research theme the Alterity in Contemporary Families, in this way, aims to reflect on the place of the Other in the family from the contributions of the thought of Emmanuel LÃvinas in his ethics of radical alterity. It present as a starting problem the changes experienced in contemporary societies, especially in relation to relationships of trust. Contemporary societies, with their specific characteristics in relation to modern ones, present changes in the experiences of time and space. Such modifications have made possible the knowledge and techniques that seem to affect a life management perspective, having an impact on the form of contemporary interaction. The relevance of this work comes from the centered and detached position that the family occupies in the contemporary scenario. The expert and abstract systems - systems of technical excellence and professional competence that order the social and material environment in which we live -, in the contemporaneity, seem to invest in the family group and to enter it, making important a discussion about its scope and limits. In relation to the members of the family and, consequently, of how this group, in particular, stands in the face of otherness. The methodology is based on the contributions of film analysis, visual anthropology and analysis of the image, by viewing films taken as cultural documents, so the elements necessary for this investigation can be played. The films Abril DespedaÃado and Boyhood are analyzed and chosen for their temporalities and distinct spatiality in order to contemplate the diversity of family configurations, as well as to draw a parallel between aspects of permanence and transition in the familiar sets. The movies works allow the visualization about the moments from reproduction of the social schemas when it are reiterated by the family, as well as the moments of impugnation of these same schemas presenting an ethical sense as such in the understanding of our theoretical horizon based on the ethics of radical alterity. Abril DespedaÃado presents a scenario of transition from a traditional family model situated in a rural context, while Boyhood takes place in an eminently urban environment passing through several models of family association.
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Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.
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Tzul, Sheril Sherine. "A Game Theory Analysis of Firm Reaction to External Organizational Demands: The Case of Animal Welfare Standards." Thesis, North Dakota State University, 2007. https://hdl.handle.net/10365/29763.
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There has been increasing public concern about farm animal welfare regarding transportation, slaughter, and some management practices, especially in systems where animals are confined for most of their existence. Animal welfare organizations (groups) have traditionally focused on forwarding their agendas through legislation, although more recent attempts have focused on convincing large firms that buy agricultural commodities to require particular production process standards to be met. The strategic interactions of players in the egg industry are modeled using a game theory approach. Two scenarios were explored: a principal-agent contract model between food firms and farmers, and a model where two firms are targeted by animal activists. The former model was empirically analyzed while the latter model was theoretically examined. Results for the principal-agent contract model indicate that, in general, the decision by the farmer of whether to invest in a free-range production system is dependent on the probability of being caught cheating. Whether contracts will be accepted or rejected by suppliers is dependent on the premium for free-range eggs. Finally, as the amount that can be lost if caught breaching the contract decreases, investment is motivated only with a higher probability of being caught. Theoretical analysis where competition did not matter and animal welfare was not a determinant of demand shows that animal activists must convince food firms that there will be a significant change in revenue with compliance as opposed to rejecting the contract or negotiating a compromise in order to attain their objectives of increased animal welfare.
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Grassegger, Hannes. "Toward an Ethics of Postmodernism Plurality and Sense-Seeking in Siri Hustvedt's The Blindfold and Paul Auster's Moon Palace /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02607802001/$FILE/02607802001.pdf.
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Rodriguez, David. "PUBLIC RESPONSE TO POOR CSR: AN EVENT STUDY LOOKING AT THE EFFECTS OF ANNOUNCEMENTS ON BOTH FIRM PERFORMANCE AND CUSTOMER RESPONSES." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/dissertations/284.
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Corporate social responsibility (CSR) has moved to the forefront of many firms' concerns and is defined as a firm taking into consideration the interests of society by taking responsibility for the impact of the firm's actions on all stakeholders: customers, employees, shareholders, communities at large, and the environment. This dissertation will look at several public announcements and examine not only the level of corporate social responsibility a firm has but also the effects these announcements have on not only firm value but also customers' reactions to them. The three samples examined in the paper are boycotts announcements, recall announcements, and negative social responsibility announcements. The announcements were separated into the three groups to allow me to better analyze the effects of individual announcements and distinguish between types of announcements. The first part of the study focused on market response, measured by stock reactions and shows that the three samples of event announcements produced inconsistent results. Each of the three events produced the negative short term effects expected, either for Day 0 or for the post event period (+1, +30). However, the significance varied and the control sample for both recalls and boycotts produced positive post announcement results, implying that competitors are positively affected by these announcements. With regards to the control samples, only the general announcements control sample produced negative post announcement implying market wide affects. These test also showed that recalls may be subject more often to leakage. The general findings of this test are as expected though the significance was not. The second part of the study focused on customer's reactions, measured by change in market shares, to the three announcements. I found that no significant effect existed due to any of the three types of announcements, negative CSR announcements, boycotts, and recalls. This can be interpreted as the lack of public response to the announcements studied. These results were then followed up with a regression analysis that put the market share as the dependent variable and `Sample" as one of the independent variables. The purpose was to see if the firms that were subject to an announcement affected market share significantly. With regards to the tests establishing the effects of variables on market share, it was found that the results in all three samples were similar. The Size variable was always among the most significant followed by whether the firm is in its growth stages or mature stages. The Sample variable is the most important variable in the regression and shows that the subject firms did not have the expected effect on market share. For all three samples the Sample variable was not consistently significant but was, in fact, positive. This implies that a negative announcement positively contributes to market share. The implication of these regressions is not necessarily contrary to the event study first completed since the stock market study is observing owners' responses while the market share analysis is studying the customers' response to the same announcements. The final portion of the study shows that KLD is relatively effective at ranking firms, both at the product and firm level. Effective ranking is determined as the firm's lack of need to reassess a firm after an announcement. I find that there is no significant or economic difference in the ranking provided by KLD in the years surrounding the event. However, the regression results in all samples tested did produce the negative reaction in the KLD ranking that was as expected. However, it was only significant in the boycott sample. I conclude that the market reacts minimally to poor CSR and that customer's barks' are worse than their bite.