Relevant bibliographies by topics / Screen quota

Academic literature on the topic 'Screen quota'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Screen quota"

Pyungkuk Chun. "FTA, Screen Quota, and Cultural Politics." Film Studies ll, no. 33 (September 2007): 469–503. http://dx.doi.org/10.17947/kfa..33.200709.017.

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Park, Sang Soo, Shu Hui Wang, and Le Xue Guo. "Research on Chinese Consumers’ Attitude to the Screen Quota System." Korean-Chinese Social Science Studies 19, no. 2 (April 30, 2021): 221–50. http://dx.doi.org/10.36527/kcsss.19.2.12.

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Napper, L. "'Quota Quickies': the Birth of the British 'B' Film." Screen 48, no. 4 (January 1, 2007): 551–54. http://dx.doi.org/10.1093/screen/hjm061.

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Choi, Byung‐il. "When culture meets trade: Screen quota in Korea." Global Economic Review 31, no. 4 (January 2002): 75–90. http://dx.doi.org/10.1080/12265080208422907.

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Kim, Jung-Ho. "Impact of Cutback of Screen Quota in Korean Movie Market: Three Years Before and After the Screen Quota Reduction in 2006." Journal of the Korea Contents Association 11, no. 2 (February 28, 2011): 238–50. http://dx.doi.org/10.5392/jkca.2011.11.2.238.

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Messerlin, Patrick, and Jimmyn Parc. "The Effect of Screen Quotas and Subsidy Regime on Cultural Industry: A Case Study of French and Korean Film Industries." Journal of International Business and Economy 15, no. 2 (December 1, 2014): 56–73. http://dx.doi.org/10.51240/jibe.2014.2.3.

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There are voices in France advocating for a Korean-type screen quota system, seen as a key ingredient in the success of the Korean film industry. At the same time, there are calls in Korea for a French-type subsidy regime to be implented as a way to achieve a further take-off. This paper shows that the Korean screen quota has little correlation with Korea’s success. For the French case, its huge subsidies have had no impact on improving the attractiveness of French movies domestically. The paper concludes by suggesting that an in-depth analysis of the policies pursued by the two countries is crucial toward avoiding a too costly trial-and-error process when designing policies related to cultural industries and culture.

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Choi, Yong Jae. "A Study of the Effects of Screen Quota on Local Production of Films." Journal of international area studies 15, no. 3 (October 31, 2011): 227. http://dx.doi.org/10.18327/jias.2011.10.15.3.227.

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Bhakti, Muhammad Agni Catur, and Wandy Wandy. "Web Conference Internet Traffic Analysis during Study-from-Home Period: Case in Sampoerna University." Indonesian Journal of Computing, Engineering and Design (IJoCED) 2, no. 2 (October 1, 2020): 91. http://dx.doi.org/10.35806/ijoced.v2i2.116.

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Web conference feature embedded in Learning Management System (LMS) has been implemented in Sampoerna University (SU) to support mandatory Teaching-and-Learning from home activities during early stage of Covid-19 spreading period in Jakarta. The use of technologies and Internet connection to support these academic activities became very essential. The objec-tive of this research is to analyze internet speed and quota con-sumptions to meet the web conference requirements. Lecturers and students need sufficient Internet quota, stable Internet connection with proper speed, either using wired or wireless connection, in prepaid or postpaid subscriptions for smooth online learning. This research was an exploratory and quantitative research with surveys using non-probability with identified voluntary response sampling. The results showed that web conferences using BigBlueButton for audio-call, text-based chat, and rarely updated presenter shared-screen consumed only 3.11% of average students’ Internet connection speed, while the quota consumptions for 3 Credit Points Course session were 129.15 MB (Megabyte) per session, and for 4 Credit Points Course session were 140.2 MB per session. It was concluded that students are supposed to experience no or less delay during web conferences, and still have plenty of Internet bandwidth that can be utilized to support Study-from-Home activities.

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최정열. "The Advocacy Coalition Framework and the Policy Process Analysis : The Case of Screen Quota in Korea." Korean Journal of Local Government & Administration Studies 24, no. 1 (June 2010): 257–81. http://dx.doi.org/10.18398/kjlgas.2010.24.1.257.

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Chang, Ah Rum. "The effect of foreign pressure on liberal policy autonomy: the case of South Korea’s screen quota system." International Review of Public Administration 19, no. 1 (January 2, 2014): 1–22. http://dx.doi.org/10.1080/12294659.2014.887290.

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Dissertations / Theses on the topic "Screen quota"

Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.

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

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Baccarin, Daniel Castelo Branco. "Estudo mecânico "in vitro" da resistência a forças axiais do parafuso canulado de 3,5mm de diâmetro, em comparação ao parafuso convencional de mesmo diâmetro, em fraturas de cabeça e colo femoral." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/10/10137/tde-16042007-173138/.

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Em razão da complexidade da osteossíntese nas regiões de colo e cabeça femorais, aliado à dificuldade da boa redução e fixação da fratura, objetivou-se estudar comparativamente os efeitos das cargas com forças axiais nos conjuntos osso-parafuso convencional e osso-parafuso canulado. O parafuso canulado possui eficiente capacidade compressiva e por possuir uma cânula central é capaz de simplificar a técnica cirúrgica se comparado aos parafusos ósseos convencionais. Foram utilizados dois parafusos dispostos paralelamente, inseridos da porção lateral do fêmur, abaixo do trocânter maior, em direção à cabeça femoral em 14 fêmures de cães acima de 20 kilos de peso, subdivididos em 2 grupos de 7 fêmures com parafusos convencionais e 7 fêmures com parafusos canulados , sem sinais macroscópicos ou radiográficos de moléstias ósseas. Os resultados obtidos mostraram que não houve diferenças estatísticas na força máxima e na rigidez nos dois grupos, e em todos os ensaios, os implantes não sofreram deformação, portanto conclui-se que as resistências dos parafusos convencional e canulado, utilizados na osteossíntese de fraturas de cabeça e colo de fêmur, são semelhantes.
Because of the complexity of osteosynthesis of femoral head and neck fractures and the difficulty of good reduction and fixation of the fractures, we studied comparatively the effects of load and axial forces of bone-conventional screws and bone-cannulated screws. The cannulated screw presents efficient compressive capacity and it presents a central cannula capable of simplifying the surgical technique if compared to conventional bone screws. We used two screws placed parallel, inserted in the lateral aspect of the femur, beneath the greater trocanter, directed to the femoral head, in fourteen femurs of dogs over 20Kg, subdivided in two groups of seven femurs each, the first with conventional screws and the second with cannulated screws, with no macroscopic or radiographic signs of bone diseases. The results didn´t show any statistical differences in maximum strength and rigidity of both groups and the implants didn´t suffer deformities in any essays, therefore we conclude that the resistances of conventional and cannulated screws, used in of femoral heads and necks fracture repairs, are similar.

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Books on the topic "Screen quota"

Paxman, Andrew. Enterprise, Profiteering, and the Death of the Golden Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190455743.003.0010.

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Under Presidents Alemán and Ruiz Cortines, Jenkins’s exhibition empire resisted attempts to rein it in, while Golden Age cinema died a slow death. Now in his seventies, Jenkins became a missionary capitalist, offering financing to friends. But his main activities were rent-seeking. He declared bankruptcy at his largest mills and used the ploy to sack workers and renege on company debts. In cinema his hegemony prompted a 1949 Film Law that promised screen quotas for Mexican films. Hollywood and Jenkins conspired to derail the quota. A second assault, in 1953, threatened expropriation and increased production subsidies. The threat vanished, and the subsidy apparatus fell under Jenkins’s sway. Was Jenkins the cause of cinema’s demise, as critics have alleged? Many were equally to blame: the state imposed a ticket-price cap, Hollywood product grew more sophisticated, producers inflated their budgets, and directors closed the doors of their guild to new talent.

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Probst, Marcel. Composition Notebook: The Breakfast Club Quote - Screws Fall Out All the Time... Movie Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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Book chapters on the topic "Screen quota"

Parc, Jimmyn, and Patrick A. Messerlin. "From the Screen Quota to Cultural Cooperation: Preferential Trade Agreements." In The Untold Story of the Korean Film Industry, 55–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80342-1_3.

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Cornish, Sarah. "“Quota Quickies Threaten Audience Intelligence Levels!”: The Power of the Screen in Virginia Woolf’s “The Cinema” and “Middlebrow” and Betty Miller’s Farewell Leicester Square." In Virginia Woolf and Her Female Contemporaries. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954088.003.0012.

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In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she facetiously suggests that this power of the movies is useful for managing and preserving distinctions of both class and taste. This chapter uses Woolf’s suggestions about film culture to explore Betty Miller’s direct engagement with the film industry in her novel Farewell Leicester Square (1941) in light of the 1927 Cinematographic Film Act. The Act required cinema houses in the UK to show a certain percentage of films made in Britain and by British directors and resulted in the phenomenon of the “Quota Quickie,” films made on a two-week shooting schedule and a slim budget. The Quota Quickie phenomenon reached a peak in 1935 and 1936, the years in which the UK produced its most narrative films. Miller’s Farewell Leicester Square, written at the height of the industry boom in 1935, the chapter argues, is a “meta-filmic” novel about the British film industry and culture during the interwar period.

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"Short-Term Trading from a Quote Screen." In Long-Term Secrets to Short-Term Trading, 163–80. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119200789.ch9.

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"SCREEN QUOTAS IN THE ERA OF THE U.S.-KOREA FTA." In Transnational Korean Cinema, 35–52. Rutgers University Press, 2019. http://dx.doi.org/10.2307/j.ctv14t4837.6.

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"3 Screen Quotas in the Era of the U.S.-Korea FTA." In Transnational Korean Cinema, 35–52. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9781978807921-004.

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