Dissertations / Theses on the topic 'Indians movies'

L'Assoiffé (Pyaasa, 1957), Fleurs de papier (Kaagaz Ke Phool, 1959) et Le Maître, la maîtresse et l'esclave (Sahib Bibi Aur Ghulam, 1962) sont les trois films les plus célèbres, les plus connus et analysés de Guru Dutt. Cette thèse a pour ambition d'élargir le champ des possibles en convoquant sa totalité filmique. Légendaire, mythique, personnel, sincère, autodestructeur, désir de vie et ou de mort… tels sont les qualificatifs qu'on trouve dans la littérature cinématographique pour désigner Guru Dutt et son œuvre. L'intérêt pour l'Inde et son cinéma viennent d'un constat : il y a peu de films indiens distribués en France alors que l'Inde est le premier pays producteur de films au monde. Alors qui est Guru Dutt ? Quelle est sa contribution au cinéma ? Comment a-t-il porté le mélodrame à une dimension épique ? Pourquoi aujourd'hui les jeunes cinéastes qui, à la suite de Satyajit Ray, commencent maintenant à ébranler le système, se référent à lui comme un précurseur, un maître ? Cette thèse entend mettre en lumière les apports cinéphilico-filmiques de cet auteur pour comprendre le cinéma indien par le prisme de son œuvre par une approche socio-historique et phénoménologique nous permettant de retracer l'itinéraire du plus grand cinéaste populaire, musical que l'Inde ait jamais élevé. De sorte que l'œuvre de Guru Dutt, qui a passé avec succès l'épreuve du temps, n'a plus aujourd'hui qu'à franchir l'épreuve de l'espace
Thirsty (Pyaasa, 1957), Paper Flowers (Kaagaz Ke Phool, 1959) and The Master, the Mistress and the Slave (Sahib Bibi Aur Ghulam, 1962) are the three most famous, well-known and analyzed films by Guru Dutt. This thesis aims to broaden the field of possibilities by summoning its filmic totality. Legendary, mythical, personal, sincere, self-destructive, desire for life and or death... these are the qualifiers found in cinematographic literature to designate Guru Dutt and his work. The interest in India and its cinema stems from an observation : there are few Indian films distributed in France, whereas India is the leading film-producing country in the world. Who is Guru Dutt ? What is his contribution to cinema ? How did he take melodrama to an epic dimension ? Why today do the young filmmakers who, following Satyajit Ray, are now beginning to shake up the system, refer to him as a precursor, a master ? This thesis intends to highlight the cinephilico-filmic contributions of this author to understand Indian cinema through the prism of his work through a socio-historical and phenomenological approach allowing us to retrace the itinerary of the greatest popular, musical filmmaker that the India has ever brought up. So that the work of Guru Dutt, which has successfully passed the test of time, now only has to pass the test of space

This dissertation uses discursive formation as the methodological approach to examine representations of Indian Christians in eleven Bollywood movies released during the 2004-2014 decade. The decade witnessed the exit and eventual re-entry of the Hindu Right, and the citizenry during that period experienced centrist, liberal, and secular governance. Since the present of Indian Christianity is inextricable from a colonial past, and Bollywood emerges in response to colonialism, a postcolonial intervention in methodology and theory is undertaken. A postcolonial perspective illuminates the discourses that enable the formation of the postcolonial nation, i.e., the ways a nation imagines its culture, people, traditions, boundaries, and Others. There is a suggested relationship between the representations of Indian Christians in Bollywood movies and the decade of secular governance because the analysis is approached from the position that culture and media produce and re-produce each other. The representations of Christians in Bollywood movies are a product of contemporary and historical cultural, legal, political, and social discourses. This dissertation demonstrates that representations of Christians as hypersexual women and emasculated men within an emergent Hindu modernity discursively constructs India as a Hindu nation, and Christians as the westernized Other. The theoretical contributions pertain to belonging in the nation through homonationalism and hypersexualization; the relationship between democratic representations and media; the postcolonial ambivalent identity of the Bollywood industry because of way it represents Indian Christians in response to colonialism; and the Indian Christian community’s postcolonial identity as a way to make sense of their contemporary and historical identity.

La littérature et le cinéma Indiens contemporains s’inscrivent dans une dynamique qui va de pair avec les profondes mutations socio-économiques qui touchent l’Inde depuis la fin des années mille neuf cent quatre vingt. En effet, de nombreux romans et films se caractérisent par une liberté d’expression qui aborde de nombreux sujets autrefois considérés comme tabous. Le vent du renouveau qui balaie l’Inde est également marqué par l’augmentation du nombre d’auteures et de réalisatrices qui placent la femme au coeur de leurs récits et de leurs intrigues. Ainsi, l’objectif de cette étude est de montrer d’une part, comment l’image de la femme Indienne passive et soumise a été construite pendant le long processus de colonisation, d’autre part, comment la littérature et le cinéma contemporains tentent de réhabiliter la place de la femme dans l’histoire afin de construire une représentation nouvelle et dynamique qui symbolise la femme Indienne des années deux mille. Les romans respectifs d’Anita Nair et de Githa Hariharan, Compartiment pour dames et Les Mille visages de la nuit, tout comme les films Fire, Water de Deepa Mehta ainsi que Le Mariage des moussons de Mira Nair s’inscrivent dans un mouvement de résistance où l’agentivité des héroïnes témoigne de la volonté et de la difficulté de s’affranchir de trois siècles de mise à la marge. Dans une première partie, nous proposons de parcourir l'histoire, celle qui a attribué à l'homme des capacités supérieures à celles de la femme, lui conférant par extension une autorité, un pouvoir de domination. Cette approche historique et sociologique permet de comprendre comment ont été construits les liens qui unissent l'humain et le divin en Inde. Notre regard se posera également sur les bouleversements conséquents engendrés par la colonisation britannique. Cette période de l'histoire de l’Inde sera analysée afin de mettre en évidence les modes opératoires par lesquels l’empire britannique est parvenu à imposer un mode de vie fidèle à sa vision du monde tout en excluant les femmes des sphères décisionnelles afin de les « consigner » dans l'espace domestique. La seconde partie de la thèse analyse l'espace familial, devenu le lieu par excellence de reproduction des postulats androcentriques. Cet espace privé sera observé de près et nous nous engagerons dans une démarche qui combine psychanalyse et sociologie afin de démontrer l’importance de la construction du féminin dans le processus de déconstruction identitaire. Nous porterons une attention particulière au rôle jouer par la mère dans le processus de reproduction. La position ambivalente qu’elle occupe conduit souvent à une fragmentation entre l’être physique, l’être social et l’être psychique. La psyché devient alors un espace habité par le doute et la peur tout en étant l'ultime refuge de réconfort. Ce décentrement entre le corps et l'esprit nous emmènera dans le domaine de la psychosomatique, là où le rêve est le lieu privilégié de la reconstruction psychique. Nous observerons également les stratégies utilisées par les romancières et les cinéastes afin d’entamer le processus de reconstruction identitaire de leurs héroïnes. La troisième partie s'intéresse au cinéma et à la littérature à travers leur complémentarité. Dans un premier temps, nous retracerons l’histoire du cinéma de la marge et nous soulignerons son caractère engagé qui le différencie de certains cinémas populaires tels que bollywood. Par la suite, nous effectuons un rapprochement entre le roman et son adaptation au cinéma afin de mettre en évidence la complémentarité des oeuvres ainsi que la notion de solidarité qui représente un point essentiel dans ce travail collaboratif. En effet, les cinéastes de la diaspora que sont Deepa Mehta et Mira Nair, ont développé une approche militante et solidaire que l’on retrouve aussi bien dans l’écriture du script que dans le choix des acteurs et des actrices
Contemporary Indian literature and cinema are part of a dynamic that goes hand in hand with the profound socio-economic changes that have affected India since the end of the nineteen eighties. Indeed, many novels and films are characterized by a freedom of expression that touches on many subjects that were once considered taboo. The wind of renewal sweeping India is also marked by the increase in the number of writers and directors who place women at the heart of their stories and intrigues. Thus, the objective of this study is to show, on the one hand, how the image of the passive and submissive Indian woman was constructed during the long process of colonization, on the other hand, how contemporary literature and cinema attempt to rehabilitate the place of women in history in order to build a new and dynamic representation which symbolizes the Indian woman of the 2000s. The respective novels of Anita Nair and Githa Hariharan, Ladies' Compartment and The Thousand Faces of the Night, as well as the films Fire, Water by Deepa Mehta as well as The Marriage of the monsoons by Mira Nair are part of a resistance movement. where the agency of the heroines testifies to the will and the difficulty of freeing oneself from three centuries of marginalization.In the first part, we propose to walk through the history, that which attributed to the man capacities superior to those of the woman, conferring upon him by extension an authority, a power of domination. This historical and sociological approach allows us to understand how the links which unite the human and the divine in India were built. Our gaze will also focus on the consequent upheavals engendered by British colonization. This period of Indian history will be analyzed in order to highlight the modus operandi by which the British Empire succeeded in imposing a lifestyle faithful to its vision of the world while excluding women from decision-making spheres in order to "consign" them in the domestic space.The second part of the thesis analyzes the family space, which has become the place par excellence for the reproduction of androcentric postulates. This private space will be closely observed and we will engage in an approach that combines psychoanalysis and sociology in order to demonstrate the importance of the construction of the feminine in the process of identity deconstruction. We will pay particular attention to the role played by the mother in the reproductive process. The ambivalent position it occupies often leads to a fragmentation between the physical being, the social being and the psychic being. The psyche then becomes a space inhabited by doubt and fear while being the ultimate refuge of comfort. This shift between body and mind will take us to the field of psychosomatics, where dreams are the privileged place for psychic reconstruction. We will also observe the strategies used by novelists and filmmakers to begin the process of rebuilding the identity of their heroines.The third part focuses on cinema and literature through their complementarity. First, we will retrace the history of cinema from the sidelines and highlight its committed character that sets it apart from some popular cinemas such as Bollywood. Subsequently, we make a connection between the novel and its adaptation to the cinema in order to highlight the complementarity of the works as well as the notion of solidarity which represents an essential point in this collaborative work. Indeed, diaspora filmmakers Deepa Mehta and Mira Nair have developed an activist and united approach that can be found both in the writing of the script and in the choice of actors and actresses. This activism will be illustrated by examples that highlight the many instances of agency staged in order to build a dynamic image of women in India

The drive-in theater was a phenomenon unique and prosperous in 1950s America. At the height of their popularity, there were over 4,000 drive-in theaters located across the United States. Their great success came because they were suitable to the mindset of the time-they provided a place for a family to be together without dress code, babysitter, or parking problems, and without having to leave their beloved cars. Construction of 23 drive-in theaters occurred in the Indianapolis area between 1940 and 1974. These varied in size and location, but all contained the essential ingredients-a large concession stand, children's playground, and any other gimmick that would gather their audiences before sunset.By the mid-1960s, the drive-in theater industry began a steady decline which has continued to present. The drive-in theater always faced obstacles, including weather, insects, seasons, and poor technical quality of both picture and sound. Adding to this was the change in the American mindset, increased opposition from community moralists, and especially, the rise in property values.This creative project documents the general history of drive-in theaters across the United States, takes a closer look at the drive-in theaters in the Indianapolis area, and records them in an inventory.
Department of Architecture

India has seen unrivaled economic growth since it embarked on its neoliberal reforms in 1990. However, accompanying this growth in income and wealth is an increase in social and economic inequalities among its population. This thesis will look at the impact of the neoliberal agenda on India’s population, particularly on its rural and marginalized poor, and show how this growth and development has been predatory in nature, benefitting a small minority at the expense of a large majority of the population who are experiencing poverty, unemployment and the loss of livelihoods as a result. This paper argues that Gandhian economic philosophy - in particular, the emphasis on localization and decentralization – has a central role to play in the development agenda of India, and is fundamental in correcting this imbalance. By drawing on Gandhi’s economic philosophy and present-day grassroots movements and initiatives that are echoing his core principles, this paper argues for the localization of power in the form of participatory governance to achieve rural revitalization, poverty eradication and radical empowerment. Fundamental for this to happen are appropriate forms and systems of governance at the local level; the creation of livelihoods through and within the local community; and incorporating local traditional and indigenous knowledge into development strategies.

This study analyzes the depiction of drug usage, cigarette smoking and alcohol consumption in movies in terms of character stereotyping and typecasting. Because movies are focused on making money they are being used as marketing tools by alcohol and cigarette conglomerates (Grube, 2004). The study also explores youth perception of such content and tries to determine the behavioral implications or influence of such content on young children. The goal of this research is to analyze the social cognitive influence of movies on the youth and the effects of censorship in movies today. The research compares this effect in the two largest movie markets - the American market (Hollywood) and the Indian market (Bollywood) and the effect of these depictions on the youth to see whether this issue warrants a global understanding and awareness. The aim of this study is to understand the nature of the movie markets and the depiction of such content in movies. It analyses the issue solely from the perspective of a youth audience to better understand how the youth today perceive movies and to see if depiction of cigarette smoking, alcohol consumption and drug usage has a positive or negative effect on the youth audience. A part of the analysis of the study is to also better understand censorship techniques employed for both movie markets to see if they are effective or need to be improved upon. Finally the study asks the question of social responsibility and whether movies and movie stars have a responsibility to maintain higher censorship standards or they are merely depiction art through the medium and should not be held accountable for their depictions on screen.

This thesis examines the varied and contradictory ideas about rural women and their needs that are produced and circulate within development discourses and projects. It pays particular attention to the multiple actors involved in the production of such ideas and the relations of power that determine which ideas gain authority. Based on ethnographic fieldwork in the Kullu District of Himachal Pradesh, India, it looks at women's participation in three different development projects: a women's savings and credit group, a broad-based development NGO, and the women's village organizations (mahila mandals ). These case studies demonstrate how development organizations engage with local gender meanings, often working to reinforce or even exploit inequalities, rather than challenge them. As women are targeted by such projects, they creatively receive, shape, and negotiate the ideas and representations that they encounter about themselves. These encounters limit, and sometimes foster, women's potential for new political identities and agency.

David Kroll, Director of the Preservation Studio at RATIO Architects, Inc. in Indianapolis, approached me in September of 2007 about a project. The Eli Lilly Farm in Carmel, Indiana was in danger of demolition. The property was sold to a development company who was proposing an idea for over 1000 homes as a part of a "Master Planned Community" to be built on 335 acres of land. One of the stipulations of this sale was that the Conner Prairie Living History Museum had first right of refusal on any of the buildings from the property. The idea had been brought up to relocate a couple of the buildings on the farm to save them from demolition. I decided to document the farm so that future generations could know what used to exist there. That idea developed into my current topic: "A Study of the Relocation of the Eli Lilly Farm Office with adaptive use Options and Rehabilitation Recommendations."
Department of Architecture

Le cinéma mettant en scène des anglais d'origines indienne ou pakistanaise, se déroulant sur le territoire britannique et traitant de relations avec les habitants qu'ils soient anglais dits de souche, anglais issus de l'immigration ou de familles métissées est appelé British-Asian cinema. Quelle image moderne de la britannicité les films British-Asians propagent-ils? L'identité anglaise n'est pas liée à la couleur de la peau ou aux origines ethniques mais au sentiment d'être anglais et de partager une culture commune. Beaucoup de personnes issues de l'immigration se disent aujourd'hui anglaises comme cela a pu être expliqué dans le très surprenant documentaire "100% English". Ces diverses représentations transparaissent dans les médias et de façon claire et accessible dans les films. Le cinéma agit comme un moyen de propager dans le monde entier une image de la britannicité. C'est dans ce contexte de redéfinition identitaire britannique que le gouvernement de Tony Blair a misé sur le cinéma britannique et son développement dans toute sa diversité. Nous pouvons nous interroger sur ce qu'est cette représentation britannique, mais aussi anglaise, vu sous cet angle particulier du mélange culturel au cinéma. L'intégration, réussie ou non, les mariages forcés, la religion, les stéréotypes culturels britanniques et Asians sont autant d'obstacles à franchir pour affirmer une identité britannique. Certains anglais ne savent plus qui ils sont réellement, on en vient à faire des tests ADN pour évaluer son niveau d'anglicité et toute légitimité à être anglais. Il est étonnant d'observer qu'à l'inverse, ces nouveaux britanniques issus de parents indiens ou pakistanais, affichent souvent une identité britannique et anglaise claire, peut être même exacerbée et mieux définie.

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Capes
O presente estudo aborda a imagem do índio no cinema de John Ford. Para além de uma mera descrição dos filmes, empreendemos uma modalidade de análise que também se detém aos aspectos de produção do filme, sua circulação e consumo, além do seu poder de provocar pensamentos sobre os indígenas e a história americana. Dessa forma, cientes de que a imagem é atravessada por inúmeras temporalidades, que se digladiam em seu interior, destacamos o que Georges Didi-Huberman vai chamar de imagens sintomáticas, que nos permitiram pensar a sobrevivência de formas da tradição western, inventada no século XIX. O uso que fazemos de diversas figuras, entretanto, procura fugir de sua típica instrumentalização como “ilustração” do discurso escrito. As imagens em nosso estudo, por outro lado, aparecem enquanto propositoras de pensamento ao texto. Inicialmente, empreendemos uma análise de como o western é inventado enquanto tradição no século XIX nos Estados Unidos. Em seguida, discutiremos como esse arquivo de imagens sobrevive no cinema de John Ford, desde o filme O Cavalo de Ferro, em 1924, até Crepúsculo de uma Raça, em 1964. Quanto à temporalidade foi preciso apropriar-se do modelo anacrônico de análise das imagens defendido por Georges Didi-Huberman. Do mesmo modo, com Etienne Samain, buscamos discutir como essas imagens pensam e nos convocam a pensar os índios, esse Outro de que falamos.
This study addresses the image of the Indian in the John Ford cinema. Beyond a mere description of the films, we undertook a mode of analysis that also owns the film production aspects, circulation and consumption, in addition to their ability to provoke thoughts on Indigenous and American history. Thus, aware that the image is crossed by numerous temporalities that battle it out inside, we highlight what Georges Didi-Huberman will call symptomatic images which allow us to think the survival of the western tradition forms, invented in the nineteenth century . Our use of several figures, however, seeks to escape his typical instrumentation as "illustration" of the written speech. The images in our study, on the other hand, appear as propositoras of thought to the text. Initially, we undertook an analysis of how the western tradition is invented while in the nineteenth century in the United States. Then discuss how this image file survives in the John Ford film, from the movie The Iron Horse in 1924 to Cheyenne Autumn in 1964. As for the temporality had to take ownership of the anachronistic model of analysis of images defended by Georges Didi -Huberman. Similarly, with Etienne Samain, we discuss how these images think and summon us to think the Indians, this Other that we speak.

Les auteurs amérindiens se servent de l'écriture depuis la deuxième moitié du vingtième siècle pour affirmer leur identité et contribuer à la survivance de leur culture. Pour certains, toutefois, la motivation d'écrire va plus loin : pour Tomson Highway, il s'agit d'un chemin nécessaire vers la guérison de ses blessures. Il a connu l'enfer des pensionnats catholiques pour jeunes Autochtones et les conséquences que l'assimilation découlant de la Loi sur les Indiens a provoquées. Par l'écriture, Highway se libère : il s'agit d'un exutoire et d'un passage obligé. En se basant sur les notions de paratopie identitaire et spatiale issues de la théorie de Dominique Maingueneau, ce mémoire analyse le regard que porte l'auteur cri sur sa nation à travers ses personnages. Deux oeuvres sont à l'étude, soit le roman Champion et Ooneemeetoo (1998) et la pièce de théâtre Dry Lips devrait déménager à Kapuskasing (1989). Du roman, il ressort qu'à l'image de l'auteur, les personnages souffrent d'une double paratopie qui nuit à leur affirmation culturelle et identitaire. N'arrivant pas à trouver leur place chez les leurs ni à Winnipeg, c'est par l'entremise de l'influence des Blancs qu'ils arrivent à un semblant d'équilibre. Dans la pièce de théâtre, c'est un portrait peu flatteur que Highway fait de la vie postcoloniale des Amérindiens. L'influence des Blancs contribue à faire disparaître la culture et les traditions autochtones. L'espoir que la situation s'améliore sur les réserves repose entre les mains de ceux qui sont prêts à faire bouger les choses, mais ce n'est pas le cas de la majorité.

In dieser Arbeit beweisen wir für Optimierungsprobleme in L0-Moduln relevante Resultate und untersuchen Anwendungen für die Darstellung von Präferenzen. Im ersten Kapitel geht es um quasikonkave, monotone und lokale Funktionen von einem L0-Modul X nach L0, die wir robust darstellen. Im zweiten Kapitel entwickeln wir das Ekeland’sche Variationsprinzip für L0-Moduln, die eine L0-Metrik besitzen. Wir beweisen eine L0 -Variante einer Verallgemeinerung des Ekeland’schen Theorems. Der Beweis des Brouwerschen Fixpunktsatzes für Funktionen, die auf (L0)^d definiert sind, wird in Kapitel 3 behandelt. Wir definieren das Konzept des Simplexes in (L0)^d und beweisen, dass jede lokale, folgenstetige Funktion darauf einen Fixpunkt besitzt. Dies nutzen wir, um den Fixpunktsatz auch für Funktionen auf beliebigen abgeschlossenen, L0 -konvexen Mengen zu zeigen. Eine allgemeinere Struktur als L0 ist die bedingte Menge. Im vierten Kapitel behandeln wir bedingte topologische Vektorräume. Wir führen das Konzept der Dualität für bedingte Mengen ein und beweisen Theoreme der Funktionalanalysis darauf, unter anderem das Theorem von Banach-Alaoglu und Krein-Šmulian. Im fünften Kapitel widmen wir uns der Darstellung mit wandernden konvexen Mengen. Wir zeigen danach, wie die Transitivität für diese Darstellungsform beschrieben werden kann. Abschließend modellieren wir die Eigenschaft, dass die Transitivität einer Relation nur für ähnliche Elemente gesichert ist und diskutieren Arten der Darstellung solcher Relationen.
In this thesis, we prove results relevant for optimization problems in L0-modules and study applications to order theory. The first part deals with the notion of an Assessment Index (AI). For an L0 -module X an AI is a quasiconcave, monotone and local function mapping to L0. We prove a robust representation of these AIs. In the second chapter of this thesis, we develop Ekeland’s variational principle for L0-modules allowing for an L0-metric. We prove an L0-Version of a generalization of Ekeland’s theorem. A further application of L0 -theory is examined in the third chapter of this thesis, namely an extension of the Brouwer fixed point theorem to functions on (L0)^d . We define a conditional simplex, which is a simplex with respect to L0 , and prove that every local, sequentially continuous function has a fixed point. We extend the fixed point theorem to arbitrary closed, L0-convex sets. A more general structure than L0 -modules is the concept of conditional sets. In the fourth chapter of the thesis, we study conditional topological vector spaces. We examine the concept of duality for conditional sets and prove results of functional analysis: among others, the Banach-Alaoglu and the Krein-Šmulian theorem. Any L0 -module being a conditional set allows to apply all results to L0 -theory. In the fifth chapter, we discuss the property of transitivity of relations and its connection to certain forms of representations. After a survey of common representations of preferences, we attend to relations induced by moving convex sets which are relations of the form that x is preferred to y if and only if x − y is in a convex set depending on y. We examine in which cases such a representation is transitive. Finally, we exhibit nontransitivity due to dissimilarity of the compared object and discuss representations for relations of that type.

Towards a peripatetic practice: negotiating journey through painting investigates painting as a way of comprehending lived experience of travel. The project develops from curiosity about journeys and their potential for bringing the artist into encounters with the world, and proximate to its issues and concerns. Aims of the project focused on peripatetic practice as a means of redirecting a personal experience of rootlessness towards connecting with others, and considering and communicating the complexity of cross-cultural experience through painting. Objectives as such were to investigate through practice the function and form of peripatetic painting, and to document this through film and writing. The study acknowledges travel as an ancient way of knowing the world and takes inspiration from the paradigm of the nomadic storyteller as exemplified in the Bengali tradition of Patuya Sangit (scroll performance). With a sense of the capacity for painting to provide spaces of connection and empathy, the study draws on the writing of John Berger and Suzi Gablik, exploring a confluence of ideas about the evolving social role of the artist. Key influences are historic and contemporary peripatetic creative practices, which include the writer Freya Stark, the colonial painter William Simpson, and the artists Phil Smith and John Wolseley. The project also incorporates methodological approaches which borrow from anthropology, situating the artist as observer, participant, and ultimately, agent. Practice in this context is immersive, and takes on social, interactive dimensions for which making paintings becomes a means of knowing and questioning the nature of cross-cultural experience. Explorations took the form of increasingly immersive journeys in Australia, India and Pakistan and a series of paintings utilising extended scroll formats with additional outcomes of documentary films. As the key research spaces for practice-led research, the scroll paintings employ pencil, collage, watercolour and oil, and a metaphoric fusion of styles and techniques of painting and drawing, notably Persian miniature and life portraiture as a means of accounting for and sharing the abiding experiences and encounters yielded through travel.

This thesis examines the 20th century settlement and migration history of the Kwakwaka'wakw people of Alert Bay, British Columbia. Through an examination of three key shifts in settlement and migratory patterns, it traces how Aboriginal space and movement has been reconfigured in response to changing social, economic, and cultural landscapes. Each of these three shifts—village relocations, the decline of involvement in the capitalist and traditional food economies, and growing urban migration—reveals how Kwakwaka'wakw settlements and notions of community have changed in recent times. These shifts also indicate how innovative forms of migration have developed in, around, and between aboriginal communities. In addition to documenting some of the most profound changes in Aboriginal demographics since the early catastrophic disease epidemics, this thesis is also interested in continuity and the role local culture plays in shaping settlement and migratory behaviour. Drawing on Michel De Certeau's notion of "combinatory operations," I suggest that Aboriginal people have interpreted and responded to different types of displacement through operational systems shaped by contemporary reproductions of socio-cultural traditions. The thesis argues that the people of this community have responded to displacement with behaviour reflective of both innovation and cultural continuity. Until now, most research on aboriginal people has been either community- or urban-based. However, this focus on the terminal "beginning" or "end" of migration has tended to overshadow the role migration itself has played within Aboriginal society and culture. Rather than a process of suspension occurring between two points of settlement, migration itself is a socio-cultural phenomenon, itself no less important than the settlements upon which the process is anchored and defined.

碩士
國立雲林科技大學
工業工程與管理系
102
Process capability indices are widely used to indicate the performance and the capability of a manufacturing process. The data were assumed to be normally and independently distributed when using these process capability indices. However, the process data are often autocorrelated in industry and this will cause inaccurate estimation of process capability indices. This study evaluates the effects of the autoregressive parameters ∅1, the moving average parameters θ1 and sample size n in estimation of process mean, process standard deviation, and process capability indices Cp, Cpk, Cpm and Cpmk when the autocorrelated process data is ARMA (1,1). The results show that the process mean will not be affected by the autocorrelation parameters and the sampling size, but the process standard deviation, and the process capability indices Cp, Cpk, Cpm, Cpmk will be affected by the autocorrelation parameters and the sampling size in the ARMA (1,1) model. The process standard deviation will be underestimated and the process capability indices Cp, Cpk, Cpm, and Cpmk will be overestimated if autocorrelation is ignored.

Consumers in developed and developing nations generally prefer products/services made in their home countries for economic, social and ethical reasons, and resist accepting foreign ones. Globalization, however, is fostering a universal culture, reducing such resistance and creating an interest in foreign alternatives. The demand for foreign products/services is emerging as a new phenomenon in some countries, especially in countries with unsuitable domestic alternatives. As the global market expands, understanding consumer behaviour in relation to how consumers evaluate and consume foreign products is becoming paramount, especially in the area of services because of the rapid growth of demand for services in recent times. Although extensive research work has been conducted in this domain, very few studies have focused on foreign services in a developing country. Based on this gap in the literature, the investigated research problem of this study is: What are the determinant factors that influence Bangladeshi consumers’ attitudes and intentions towards viewing American and Indian movies and how do these intentions influence their viewing behaviour.

abstract: Accurate characterization of forest canopy cover from satellite imagery hinges on the development of a model that considers the level of detail achieved by field methods. With the improved precision of both optical sensors and various spatial techniques, models built to extract forest structure attributes have become increasingly robust, yet many still fail to address some of the most important characteristics of a forest stand's intricate make-up. The objective of this study, therefore, was to address canopy cover from the ground, up. To assess canopy cover in the field, a vertical densitometer was used to acquire a total of 2,160 percent-cover readings from 30 randomly located triangular plots within a 6.94 km2 study area in the central highlands of the Bradshaw Ranger District, Prescott National Forest, Arizona. Categorized by species with the largest overall percentage of cover observations (Pinus ponderosa, Populus tremuloides, and Quercus gambelii), three datasets were created to assess the predictability of coniferous, deciduous, and mixed (coniferous and deciduous) canopies. Landsat-TM 5 imagery was processed using six spectral enhancement algorithms (PCA, TCT, NDVI, EVI, RVI, SAVI) and three local windows (3x3, 5x5, 7x7) to extract and assess the various ways in which these data were expressed in the imagery, and from those expressions, develop a model that predicted percent-cover for the entire study area. Generally, modeled cover estimates exceeded actual cover, over predicting percent-cover by a margin of 9-13%. Models predicted percent-cover more accurately when treated with a 3x3 local window than those treated with 5x5 and 7x7 local windows. In addition, the performance of models defined by the principal components of three vegetation indices (NDVI, EVI, RVI) were superior to those defined by the principal components of all four (NDVI, EVI, RVI, SAVI), as well as the principal and tasseled cap components of all multispectral bands (bands 123457). Models designed to predict mixed and coniferous percent-cover were more accurate than deciduous models.
Dissertation/Thesis
M.A. Geography 2012

The Kwak'wala language of the Kwakwaka'wakw First Nations is in rapid decline as a living language. How much does the loss of the Kwak'wala language affect Kwakwaka'wakw culture? Influenced, in part, by a contemporary re-evaluation of Benjamin Wharf's 'principle of linguistic relativity' this thesis presents an analysis of the concept of 'time' as it is expressed in the Kwak'wala language and assesses how that concept is then manifested in other Kwakwaka'wakw cultural forms such as myth, songs, ceremony and art. Building on Judith Berman's assessment of George Hunt's explanation of historical concepts this thesis presents a model of Kwakwaka'wakw time that is based on a premise of 'the alternation of opposing states'. Time is situated as state based and the concept of the past and the present are aligned with the physical (form) and the spiritual (essence) and the summer and the winter. It is shown that this concept of time, as expressed in the Kwak'wala language, is also expressed in Kwakwaka'wakw cultural manifestations such as ceremony and art, rendering them conceptually bound.

The use of transnational supply chains has been perceived as the “mantra for success” in the ear of globalisation, changing customer demographics and demand. The fast-moving customer goods (FMCG) industry has also joined this bandwagon, along with other industries, such as the high-technology industry, in order gain competitive advantage. However, the trade regimes of developing (emerging) economies have played a significant role in establishing the context for the supply chain originating in a particular country, and therefore in containing the foreseen benefits accruing from supply chains becoming a transnational process. This thesis was focused on identifying issues within selected transnational FMCG supply chains origination in India and South Africa. It also identified the steps that supply chain managers were taking to address these issues. It also proposed a framework for supply chain operating model to address the identified issues. The research used a combination of analytical models to investigate the different aspects of the various transnational supply chains. To examine the underlying aspects of the various FMCG supply chains, a typology model in conjunction with an operational model, a financial model and a governance model were used. Supply chain operations reference (SCOR), an operational analytical model, was used extensively on this thesis. Detailed typology and process flow maps specific to transnational FMCG supply chains were also developed. The collective case study approach was used as the research methodology. A total of four cases spanning two countries – India and South Africa – and dealing with two product segments (packaged food and personal care products) were studied. Data for the study was collected thorough primary sources (in multiple face-to-face interviews) and secondary sources (from case-specific documents and reports). After the data was analysed, it was found that the various supply chains in the FMCG industry displayed similar typologies and issues, some of which were unique to each country. The typology of the transnational supply chains for all four cases was very similar in terms of their distribution structure setup, product life cycle, sourcing models combination, customer relations, marketing methods and degree of globalisation. However, in both countries, the supply chain issues identified in the personal care segment, such as product proliferation and supplier unreliability, were different from those identified in the packaged food segment, such as strict food-related regulatory laws and greater manufacturing complexities. Some of the typical issues affecting local supply chains, such as the bullwhip effect and lower supply chain adaptability, were not evident in the transnational supply chains. The steps supply chain managers were taking to address these issues, such as standardising processes and implementing new technology, were found to be similar in all cases. However, in India, supply chain managers were also focusing on government initiatives, establishing contracts with suppliers and customers, and implementing supply chain policies, while in South Africa they were also focusing on improving supply chain skills, improving branding in transnational markets and implementing foreign exchange controls. The overall conclusion was that there was considerable potential for achieving competitive advantage by setting up transnational supply chains, provided that the problems identified within transnational supply chains were adequately addressed by supply chain managers. However, in some scenarios, the steps taken in terms of available best practice models results in further set of issues arising. The identification of the issues facing supply chain managers and the development of a framework of operating model to address the identified issues with transnational FMCG supply chains were the most significant contributions of this research study.

This thesis is divided into two volumes, the creative work and the exegesis. The creative work, My ornament, is an Australian novel set in India. It explores - from a feminist perspective - issues of desire, subjectivity, agency and connection among three women and their moving, sexual bodies across time and space. In so doing, its aim is to place women at the centre of literary/critical discourse, emphasising connection rather than differences across cultures. The voices of the two main characters, Rachel and Muddupalani, alternate, cross over, merge and pull apart in the narrative that moves between the 18th and 20th centuries, Australia and India, with the third mythic woman, Radha, a textual presence in the poetry written by Muddupalani. The exegesis constructs an intellectual and fictional genealogy for the novel, situating it in a 21st century discursive space. While it is a work of Australian fiction - with an Australian author and protagonist - I suggest that it contributes to the following writing traditions: South Indian poetics and 18th century culture; Francophone women’s literary theory, in particular ecriture feminine; and notions of 'dancing desire'. This account of choreographing a fiction (of the self within a text) moves along intersecting planes through the liberatory spatio-temporal territory available in cultural nomadism and transnational feminist practice. Together, these two volumes create a new discursive space by linking seemingly disparate elements and fictional characters to create a region in which women - writing and dancing women - can connect and move freely across cultural and time zones; as heterosexual erotic beings, they articulate their desire and reflect it back through their art. It is recommended that the novel be read before the exegesis.