Letteratura scientifica selezionata sul tema "Wong (Firm)"

Audit fees of Big 6 and non-Big 6 accounting firms are examined for 348 publicly listed Hong Kong companies. Using more recent data than prior studies, we find evidence of Big 6 premiums for both general brand name and for industry specialization. In addition, we find that the large local firm Kwan Wong Tan & Fong, which is the market leader in the property sector, has significantly lower fees than both Big 6 and other non-Big 6 auditors in that industry. Specialization thus leads to different results for Big 6 and non-Big 6 firms and suggests a market segment not previously identified: non-Big 6 specialization, which leads to production economies and the capture of market share through lower fees for a clientele seeking low-priced audits. These results also suggest that prior studies do not recognize sufficiently that Big 6 brand-name reputation is a necessary foundation on which to achieve higher priced quality-differentiated audits based on industry specialization.

Wong Kar-wais films are characterized by his unique filming techniques and captivating script dialogues, showcasing his distinctive cinematic style. Through personalized expressions, Wong introduces Eastern aesthetics and philosophical thinking to international audiences, resulting in enthusiastic reception. Taking Chungking Express as an example, this film is one of Wongs masterpieces, vividly portraying the urban landscape of 1980s Hong Kong. Despite its short production cycle, the movie has garnered numerous awards on the international stage. This paper delves into the reasons behind the international popularity of Wongs films, using Chungking Express as a case study. It analyzes foreign reviews of the film and explores Wong Kar-wais personal experiences, focusing on his filming techniques and scriptwriting style. Through personalized expressions, Wong presents Eastern aesthetics and philosophical thinking to international audiences, leaving a profound impression of Chinese elements in his films and contributing to their enthusiastic reception.

The concept of organizational ambidexterity and dynamic managerial capabilities have raised researchers’ interest. Based on previous studies, this paper aims to provide a simple understanding of those two concepts, so that everyone from diverse backgrounds can easily capture the ideas of these concepts. In addition, the clear explanation of the relationship between dynamic managerial capabilities and organizational ambidexterity also provided. In short, Ambidexterity is defined as the need for the firm to achieve a balance between explore and exploit (He and Wong, 2004; O’Reilly, 2013) and the responsibility to manage both lays on the TMTs. On the other hand, Dynamic managerial capabilities emphasize the important role of managers or leaders to sense, to seize, and to reconfigure organizational skills and resources to match with changing the environment (Eisenhardt and Martin, 2000; Teece et al., 1997). TMTs dynamic managerial capabilities influence their ability to sense opportunities for ambidexterity and seize them through combining, integrating and reconfiguring exploitative and explorative resources and capabilities. Several studies have provided several examples of these two concepts are related. For instance, TMTs’ human capital describe the knowledge, education, experience, and skills of the TMTs, then logically, the TMTs that have rich working experience will be able to manage the resources for exploitative and explorative activities in the better system (Heavey, 2010).

SUMMARY Previous studies in the financial economics literature highlight the value of non-financial information in Internet and telephony stocks (Amir and Lev 1996; Trueman, Wong, and Zhang 2001). Other studies consider the financial and share price performance implications of assurance of non-financial information such as ISO 9000 certification (Corbett, Montes-Sancho, and Kirsch 2005), Total Quality Management awards (Hendricks and Singhal 1997), and non-financial information disclosure (Coram, Monroe, and Woodliff 2009). However, prior studies have occurred in settings where disclosure and assurance of non-financial information is voluntary. We provide evidence on the value of assurance of non-financial information where the assurance of public resource disclosures made under the JORC Code by Australian Mining Development Stage Entities are mandatory. The assurance role undertaken by Competent Persons reporting under the JORC Code bears many close similarities to the financial reporting assurance role undertaken by auditors. Further, the information environment of MDSEs is characterized by high information asymmetry and the reality that the utility of non-financial technical information supersedes financial statement information in firm valuation. We document very weak evidence of greater abnormal returns evident when reserve disclosures are provided by specialist mining consultants. In supplementary analysis, we test for implications of switching mineral consultant and find that clients experience significant positive abnormal returns when the successor is larger. Overall, our findings support the insurance hypothesis, in that mandatory specialist assurance matters little where litigation risk is low.

Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the “auteur as structure” approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors’ analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wong’s style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kong’s hand-over to China.

A key problem of construction firms’ management and economy is organization of effective participation in public tenders. The direct executor, who determines the price of the contract, may be interested in obtaining as many contracts as possible. It means that his strategic behavior in tender may be to undervalue each individual offer. At the same time, such a strategy can be a source of risk of project loss because the actual costs may be lower than the price of the contract won. The management of the construction organization is not interested in this. On the other hand, overpricing strategy may lead to a reduction in the number of contracts won, which may not seem effective either for the head or for the executor of such an organization. The article discusses whether the profits of a construction firm can increase by using a more precise method of calculating the estimated cost. The second question is—which staff of a construction firm will benefit from using such methods? The aim of this work is to test these hypotheses with the instrumentality of agent-based modeling. Profit values of construction firms were obtained by the computer simulation of the construction firms’ strategic behavior in public tenders. Results of 1500 computer experiments are presented as a decision tree. It can be seen that when using a more precise method, construction firms win tenders almost two times less often. However, they incur losses many times less than with an inaccurate method. If a construction firm made a profit from the contracts won, the profit margin was almost always greater when using the more precise method. Moreover, the results of game-theoretic modeling are given. Values of the objective functions of the executor and head of the construction firm were obtained, taking into account the reward for contracts won and penalty for miscalculating the cost of work. It has been proved that using more precise methods for calculating the estimated cost is beneficial to both the head and the executor. It can be concluded that both hypotheses were confirmed and a precise method for calculating the cost increases the efficiency of a construction firm.

Abstract In Cinema 1, Deleuze proposes the “color-image,” a type of film image with an “absorbent characteristic” that does not refer to a particular object but seizes all that happens within its range. Like color-images, racial categories have an absorbent, seizing quality: they assert “color” at the expense of the object of representation. Deleuze does not address the potential applications of his concept to race, but they are especially illuminating when applied to early color-process cinema. This essay approaches The Toll of the Sea (dir. Chester M. Franklin, 1922), starring Anna May Wong and set in China, the first Technicolor film to be widely distributed in general release, as a feature-length “China Girl” and feature-length color-image, in Deleuze's sense. It further shows how Wong and her world are virtualized in this film under the rubric of a fictional orientalist palette.

This research delves into an in-depth exploration of Wong Kar-wais cinematic approach, with a primary focus on his distinctive film style. To vividly illustrate Wong Kar-Wais unique visual language, This research will employ his 1995 film Fallen Angels as a case study. This cinematic masterpiece serves as an exemplary showcase of Wong Kar-Wais unparalleled storytelling prowess and distinctive filmic techniques. The paper aims to conduct a comprehensive examination of Wong Kar-Wais cinematic artistry, with a specific emphasis on four key elements: frameskipping, color filtering, the innovative use of fisheye lenses, and the strategic implementation of slow-motion sequences. Additionally, this analysis highlights the enduring global influence and significance of Wong Kar-Wais contributions to the world of cinema, emphasizing his lasting impact on filmmaking and storytelling. The comprehensive analysis on the technical skills applied in Wong Kar-Wais Fallen Angels will further contribute to a alternative approach to Hong Kong cinema in the late 20th century.

AbstrakSeni pertunjukan wayang wong adalah salah satu kesenian di Bali dan masih ditarikan di daerah desa tradisional Sidan, Kecamatan Petang, Kabupaten Badung, Bali. Kesenian wayang wong ini menjadi menarik, karena merupakan salah satu kesenian yang dianggap sakral oleh masyarakat setempat. Tetapi di Desa Sidan, wayang wong hanya ditarikan saat upacara keagamaan khusus. Pada prosesi sebelum pertunjukan ditarikan oleh masyarakat setempat, dilakukan ritual khusus pada para penari. Pengamatan lapangan tidak ditemukan adanya dokumentasi dalam bentuk apapun yang mengacu pada rangkaian acara tersebut, termasuk foto ataupun rekaman video. Berdasarkan wawancara dengan kelompok penari, regenerasi dilakukan dari generasi ke generasi secara langsung. Tidak adanya dokumen fisik atau digital, memotivasi tindak lanjut untuk mengeksplorasi fenomena kesenian ini. Metode kualitatif melalui pengumpulan data observasi tempat rangkaian prosesi kesenian wayang wong dan wawancara dilakukan pada anggota penari serta pimpinan desa adat yang mengetahui eksistensi kesenian ini. Kemudian dikomparasikan dengan proses perancangan video, sehingga didapatkan rangkaian cerita dalam bentuk film dokumenter. Finalisasi film dokumenter kemudian didelegasikan secara langsung pada masyarakat setempat, sehingga dapat digunakan sebagai acuan kajian lebih lanjut oleh para akademisi ataupun praktisi seni. Hal ini bertujuan untuk melestarikan kesenian wayang wong sakral yang telah langka di Bali. Kata Kunci: film, dokumenter, tari, wayang wong, Bali AbstractWayang wong performance art is one of the arts in Bali and is still danced in the traditional village area of Sidan, Petang District, Badung Regency, Bali. Wayang wong art is interesting because it is one of the arts that are considered sacred by the local community. But in Sidan Village, wayang wong is only danced during special religious ceremonies. In the procession, before the performance was danced by the local community, a special ritual was performed for the dancers. Field observations were not found in any form of documentation that refers to the series of events, including photographs or video recordings. Based on interviews with dancer groups, regeneration is carried out from generation to generation directly. The absence of physical or digital documents motivates follow-up to explore this artistic phenomenon. The qualitative method was through observation data collection where a series of wayang wong art processions and interviews were conducted with dancers and traditional village leaders who knew the existence of this art. Then it is compared with the video design process so that a series of stories is obtained in the form of a documentary film. The finalization of the documentary was then delegated directly to the local community so that it could be used as a reference for further studies by academics or arts practitioners. It aims to preserve the art of the sacred wayang wong which has been rare in Bali. Keywords: film, documentary, dance, wayang wong, Bali

The Auteur theory is a theory that says directors serve as the primary creative force behind films, shaping their narratives and imbuing them with their personal philosophies. This paper delves into the cinematic filmography of Wong Kar-wai, a renowned Hong Kong film director known for his exploration of philosophical themes within the context of Asian society. Through examinations of his films, this study investigates the subtle interplay between Wong’s directorial vision and the philosophical underpinning embedded within each film. Including themes that are controversial in Asian society in the past, such as Queer and marriage affairs, prevalent in Wong Kar-wai’s every work, this research explores the cultural and societal implications of these issues within the Asian community. Despite the evolution of the film industry, Wong’s commitment to infusing his films with thought-provoking philosophical perspectives remains evident, and his movies are absolutely fascinating and worth studying. By analyzing five different Wong Kar-wai films, Chungking Express, In the Mood for Love, Happy Together, Fallen Angels, and Days of Being Wild, through the lens of auteur theory, this study aims to explore the intricate relationship between the director’s ideology and the thematic elements present in his cinematic works. Furthermore, the author explored the cultural and societal issues and implications within the Asian community beyond Wong Kar-wai’s and found how the social and cultural situations have affected the film style of Wong Kar-wai in this research.

This study explores two stylistic features in the films of contemporary Hong Kong film-maker Wong Kar-Wai: colour and sound. In particular, it focuses on how transitions in colour palettes (e.g. from a natural colour spectrum to a monochromatic effect of black-and-white) and specific sound resources (such as silence) function as important semiotic resources in the films, even when they appear to create a disjunctive effect. The study draws on two perspectives on communication to explore film. The first is the metafunctional hypothesis of Systemic-Functional Linguistics, which theorises that the communicative dimensions of texts can be explored from three simultaneous ???macro-functions???: the ideational, the interpersonal and the textual metafunction. The second is multimodal communication, which stresses that multiple semiotic resources are used for meaning-making purposes and that meanings created multimodally are multiplicative in essence. From this theoretical basis the study aims to illuminate two inter-related objectives. First, that the meaning potentials of colour transition and sound are construed and enabled by the co-ordinations of meanings across different co-present semiotic resources ??? known as intersemiosis in the study. Second, that the semiotic capacities of the two resources can be usefully explored from a functional perspective. Drawing especially the notions of intersemiosis and resemiotisation the study shows that colour transition and sound are multivalent resources in Wong???s films. In other words, their meaning potentials are metafunctionally complex and are never static. The thesis argues that colour transition and sound should not be seen as having ???a??? meaning, but rather, that it is the semiotic complexities among the co-patterned resources that shape the meaning-making potential of the resources, and in turn, help contribute meaning potentials to the films.

This thesis seeks to explain the affective appeal of Wong Kar-wai’s oeuvre in terms of emotional marketing. Although his working method and storytelling principles are most atypical of Hong Kong film industry, the director has actively exploited local strategies of genre, stardom, and hybridization throughout his career. Contrary to his well-crafted image of improvisational artist, recurrent stylistic tropes and narrative strategies in Wong’s films evidence a conscientious organization. . I argue that Wong Kar-wai deliberately caters to the tastes of a transcultural, multilingual and cinema-savvy spectatorship, and that his films encourage affective investment and repeated viewings.
La presente tesis busca explicar el atractivo emocional de la obra de Wong Kar-wai. Aunque su forma de trabajar y estrategia de narración son muy atípicas en la industria cinematográfica de Hong Kong, el director ha recurrido con frecuencia a las convenciones del género, star system e hibridismo del cine hongkonés. Los elementos estilísticos y estrategias narrativas de sus películas contradicen la imagen del artista improvisador, difundida por el propio Wong, y en cambio afirman una minuciosa organización del relato. Sostengo que Wong Kar-wai busca satisfacer los gustos de un público cosmopolita, multilingüe e ilustrado, fomenta un compromiso emocional y hace que los espectadores quieran volver a ver sus películas.

This study examined the business results of companies that won the Malcolm Baldrige National Quality Award (NQA). It used performance data before and after the award to determine if there were significant differences in three key performance indices after adoption of those business techniques that enabled these companies to win their NQA. The three key indicators were return on assets (ROA), earnings per share (EPS) and the current ratio. The study examined the data in two ways; first tests were made by comparing company performance before and after winning an NQA. The second way of testing was by comparing the NQA-winning company's performance with its key competitors within their market segment. Using both parametric and nonparametric hypothesis testing techniques, the preponderance of evidence suggests there was no significant difference in performance after winning the NQA than before, using the three performance indicators used in this study. Likewise, there was no evidence to suggest that the NQA-winning firms outperformed their key competitors within their market segment, for the three performance indicators used.

El camp talk es una forma de expresión construida mediante el habla que forma parte de la representación de la identidad de la comunidad LGTB+. Esta forma de expresión se ha visto representada en diversas producciones tanto cinematográficas como en novelas u obras de teatro, por lo que se han traducido del inglés a otros idiomas. Si bien existen investigaciones sobre la traducción del camp talk, estos estudios son limitados, sobre todo en el contexto de los años 90. En esta década, recién se construían equivalentes en español para el vocabulario utilizado por la comunidad LGTB+ a través de las primeras traducciones de productos de consumo masivo como películas o series. Se considera la traducción del camp talk como un problema ya que, para mantener la identidad de la comunidad en cuestión, el texto meta debe cumplir con la función comunicativa del texto fuente y considerar los equivalentes del vocabulario empleado por la comunidad LGTB+. Por esta ra, la presente investigación se centra en dos películas LGTB+ de los años 90, The Birdcage y To Wong Foo, Thanks for Everything! Julie Newmar, con la finalidad de analizar la función del camp talk y las técnicas utilizadas para su traducción. Para obtener los resultados, se utilizarán dos técnicas: el análisis de contenido para analizar las funciones del camp talk en la versión original en inglés, y el análisis textual contrastivo para analizar la traducción al español latinoamericano del camp talk e identificar las técnicas de traducción utilizadas.
Camp talk is a form of expression constructed through speech, and this represents the identity of a community, as is the case of the identity of the LGTB+ community. This form of expression has been represented in several film productions, as well as in novels and theatre plays, and has been translated from English into other languages. Although there is research about camp talk translation, these studies are limited, especially those in the 90s. At that decade, spanish equivalents for the vocabulary used by the LGTB+ community were just being constructed through the first translations of mass consumer products such as movies or series. The translation of camp talk is considered a problem since, in order to maintain the identity of the LGTB+ community, the target text must fulfill the communicative function of the source text and consider the equivalents of the vocabulary used by the LGTB+ community. Therefore, the present research focuses on two LGTB+ films from the 90s, The Birdcage and To Wong Foo, Thanks for Everything! Julie Newmar, to analyze the function of camp talk and the techniques used for its translation. To obtain the results, two techniques will be used: content analysis, to analyze the functions of camp talk in the original English version and contrastive textual analysis to analyze the Latin American Spanish translation of camp talk and to identify the translation techniques used.
Trabajo de investigación

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

Im Anschluss an eine queer-theoretische reparative Perspektive betrachte ich lustvolle Strategien des Überlebens in zwei Film- bzw. Videoarbeiten. Ming Wongs Lerne deutsch mit Petra von Kant (2007) und Cana Bilir-Meiers This Makes Me Want to Predict the Past (2019) erzeugen unvorhergesehene, lebenserhaltende und »transhistorische Beziehungen«. Beide respektieren dabei die mediale Lücke im Zugriff auf die Vergangenheit.

AbstractIn 2010, an Indonesian movie titled Merantau won Best Film Award at ACTIONFEST, a festival dedicated to action films from around the world. Directed by the American Gareth Evans, this film presented a storyline based on the travels and conflicts encountered by a Minangkabau youth in his journey away from his home village in West Sumatra. The action scenes in the film used movements from silat, the traditional martial arts of West Sumatra, Indonesia. The leading actor, Iko Uwais, then an Indonesian unknown, became a star and went on to earn lead roles in Raid I and Raid II, both films by the same director, that also used silat movements. The action scenes in Merantau that drew so much attention were the fighting sequences choreographed following the motifs of traditional Minangkabau silat harimau (“tiger-style” fighting) movements. This genre was as yet unknown outside the martial arts scene because most of the choreography of fighting scenes in the film is based on Chinese or Japanese martial arts styles. Breaking away from that convention, the choreographer for the scenes in Merantau was Edwel Yusri Datuk Rajo Gampo Alam, a master and teacher of traditional tiger-style silat (or silek harimau) originating in West Sumatra. In the Minangkabau language, harimau means “tiger.” The word is also used in Bahasa Indonesia.

Brand researchers and practitioners acknowledge that brands have the power to create emotional relationships between customers and enterprises. Moreover, it is known that brands can sometimes reflect the strategic vision of a firm. The aim of this chapter is to capture the creation of an identity for a new brand and to create a framework to better manage customer brand engagement in social media. To the best of this author's knowledge, this research creates a new framework that allows managers better handling their social media strategy regarding engagement. This study contributes to the lack of studies regarding brand management in SMEs, found by Krake, Wong and Merrilees, and Merrilees, and more particularly, it addresses Ojasalo et al.'s gap regarding the few literature research about brand management in SMEs. Moreover, it provides some understanding of customer brand engagement evidenced through social media, which, according to Wallace et al., continues to present challenges.

This chapter explores the production, reception and politics of cinema and television in 2021. Alvin K. Wong, focusing on Jun Li’s Drifting (2021), explores visualisations of homelessness, dispossession and Sinophone resistance in contemporary Hong Kong. Staying with Hong Kong, Alvin Hoi-Chun Hung discusses the role of Hong Kong produced films in promoting anti-corruption discourse of the Chinese party-state. Finally, moving to the PRC and to the Mao era, Jie Li introduces a new approach to thinking about the ways in which cinema contributed to Mao’s personality cult, with a focus on the processes of dissemination and amplification of Mao’s image, voice and also rituals of worship. Chapter Contents: 5.1 Visualising Homelessness in Sinophone Hong Kong: On Jun Li’s Drifting (2021) Alvin K. Wong 5.2 Shaping Narratives of Anti-Corruption Through Popular Culture: An Analysis of the Storm Film Series Alvin Hoi-Chun Hung 5.3 The Cinematic Cult of Mao Jie Li

Abstract Shortly after her dismissal from Columbia, Monroe became personally and professionally associated with the powerful agent Johnny Hyde. She appeared briefly with Groucho Marx in Love Happy and, soon afterward, posed for her famous nude calendar. A major turning point came with her casting in John Huston’s The Asphalt Jungle, which won her outstanding reviews. A second important film, All about Eve, followed months later and led to a new contract at Twentieth Century-Fox. Interspersed with these were minor film roles and even a television commercial. Hyde’s death late in 1950 left her grief-stricken and, for a time, without firm professional guidance.

This chapter begins with a concise history of Warner Bros.—its inception, its combative founders, and the key role that music played in the studio’s releases. Steiner’s first work at Warners, The Charge of the Light Brigade, would be another milestone—a grand action-adventure score foreshadowing contemporary film music. Despite a tight deadline, and high expectations from producer Hal Wallis, Steiner triumphed, which made his return to Selznick all the more crushing. David’s increasing micromanagement extended to music; and Max was devastated when the producer who had called himself Steiner’s “biggest fan” eviscerated his score for A Star Is Born, Selznick’s latest film. A proud (if often insecure) individual, Steiner resigned his post at Selznick but stressed to the producer his desire to remain friends. His motives were not solely personal. Max knew that Selznick was about to film the most successful novel of the decade: Gone with the Wind.

With the development of science and technology, the distance between people in space is getting smaller and smaller, and economic globalization has been a historical inevitability. At the time of accelerating globalization, the film and television industry, as a part of the economy, cannot escape the impact of globalization. Moreover, compared with other industries, film and television works often carry more cultural connotations. How should filmmakers cope with the cultural differences in storytelling, create cross-cultural works, and get the same or different word-of-mouth feedback from different cultural groups? In the current multi-cultural context, Wong Kar-wai can be said to be one of the representative figures. In his films, From "Carmen", "Ashes of Time" and "Days of Being Wild" to "Chungking Express", "In the Mood for Love" and "The Grandmaster", Wong Kar-wai has been widely understood and accepted in different cultural and social contexts. This article start with online comments and study the elements of cross-cultural film creation in the context of globalization according to data mining technology. Research methods and processes: Firstly, data acquisition and pre-processing are carried out. The data source of online comments needs to be determined before crawling the review data. For the research objects selected in this study, the relevant sections of online movie rating websites, online movie platforms and social attribute platforms with large audiences were chosen as data source. For example, metascore has a weighted average of many movie reviews from well-known critics, which is highly reliable. Then, the key step in text mining is word segmentation. It's the process of breaking a sentence into several words. Accurate word segmentation can improve the efficiency and accuracy of subsequent text mining. After the word cloud is established, attribute features of the comments are extracted and classified, and the factors that highly affect the acceptance and empathy of Wong Kar-wai's film works in the cross-cultural context are summarized. Finally, combined with the study of his film scenes and narrative structure, the research focuses on the following factors:1.Theme selection: Explore universal themes, such as love, loneliness, loss and dreams. These themes are cross-cultural, and people face similar issues and emotions across cultures.2.Narrative structure: Such as non-linear narrative structure, which not only increases the complexity of the film, but also provides the audience with space to think and interpret, so that audiences from different cultural backgrounds can interpret the film in different ways.3.How emotions are expressed: Wong Kar-wai's films emphasize the emotions and inner world of characters, which is a universal emotional experience that can touch people's emotions across cultural boundaries.4.Character complexity: Complex and multi-dimensional characters with unique personalities, desires and inner conflicts enable the audience to immerse themselves in understanding the inner journey of these characters, regardless of their cultural background.5.The beauty of cultural elements: Different cultural elements, such as the backgrounds and traditions of China Mainland, Hong Kong, or elsewhere. Although these elements sometimes have a specific impact on the story, they are usually presented in an aesthetic and emotional way that allows the audience to enjoy the film without knowing the cultural details.6.Aesthetic of sight and sound: Films have a distinctive vision and sound style. Create memorable movie atmospheres. This visual and aural allure can transcend the language barrier and touch the hearts of the audience.In a word, the reason why Wong Kar-wai's films can be accepted and understood by people in cross-cultural contexts will be explored in a more specific way along the above directions, and the methods of film creation will be explored under the background of multi-context globalization.

Este trabalho visa aplicar métodos para avaliação de acessibilidade e usabilidade em jogos digitais nacionais. Para isso, foi realizada uma revisão sistemática, a fim de identificar quais são principais métodos aplicados a jogos digitais. Para o métodos de avaliação, as diretrizes da organização Game Accessibility Guidelines e as heurísticas de Pinelle, Wong e Stach foram selecionados. Os dois métodos foram aplicados em um estudo de caso para verificar sua adequação e compreender parte do cenário de jogos no Brasil. Embora pesquisas mais aprofundadas sejam necessárias, os métodos permitiram averiguar a aderência dos jogos brasileiros em relação as diretrizes e heurísticas.

Farhadi’s The Salesman, which won the Best Screenplay award at the 2016 Cannes Film Festival and the Best Foreign Language Film in the 89th Academy Awards, got universal acclaim and behooved for academic debates. The intertextual references in The Salesman optimized with the film’s explicit references to Arthur Miller’s drama play, The Death of a Salesman. However, the director, Asghar Farhadi, includes more subtle intertextual references to attract the audience to some masterpieces of art. This study introduces referenced sources to emphasize parallels between Farhadi’s film and other literary and artistic works to determine the central themes of the movie in order to evaluate the protagonist and antagonist’s actions thoroughly and accurately. Out of The Death of a Salesman, the film establishes intertextual relations with plays such as Hamlet by Shakespeare and Out at Sea by Slawomir Mrozek, “The Cow” —a short story—by Gholam-Hossein Saedi, Gilemard—a novel—by Bozorg Alavi, and movies such as Shame by Ingmar Bergman and The Godfather by Francis Ford Coppola. These intertextual relations are the film’s central conflict that should be evaluated in the realm of the challenge between tradition and modernity. In addition, of course, various manifestations of such resistance are reflected in the facedown between the past and the future.

Examining the links between performance and financial issues has been, and still is, subject of a great number of researches both in the business and in the non-profit environment. In this respect, the world of sports has not been bypassed either, using concepts and / or instruments from accounting, economics or statistic areas in order to analyse a firm or an NGO in the sport industry and his success. The present study represents one of the first attempt to value the Romanian sports federations’ activity which is not based solely on the scores attained following places and medals won by athletes participating in the national and international competition system. And it is intended to identify an appropriate methodology to highlight how efficient the sports federations have been in 2019 year, reporting the results obtained to the resources used, from a domestic perspective (meaning the participation in national sports events and the scores obtained). This paper addresses 12 Romanian sports federations (out of 75 federations on sport branches) and their efficiency, through the lens of several input, output and outcome indicators, using public data gathered from various sources - the Romanian Ministry of Finance, the National Institute of Statistics, the Romanian Ministry of Youth and Sports. Using statistical tools, such as Spearman rank correlation, as well as statistical methods, such as standardization, we developed an efficiency calculation methodology, which could be used to support managerial team to improve and / or reshape federations' activities, if necessary.

Grease lubrication is typically useful to rolling contact bearings. The stableness of grease prevents it from leaking out of any quite of bearing, makes it very easy to use, and should provide it high-quality quality sealing properties. The same stability prevents an optimal lubrication on bearing performance. The majority of the grease is brief of out of the cage of bearing through the primary phase of bearing operation and not dynamically participates within the lubrication process, leaving only a partial quantity available, which is stored within the bearing geometry and on the bearing, shoulders covers or seals. This stored volume strongly determines the remaining lubrication process within the ball bearing. The distribution of this volume is about by the lubricating grease flow, which is extremely complex to know due to the strong nonlinear rheology. Grease process has self healing properties where fresh grease is supplied just in case of film breakdown and self induced heat development. To affect this problem, a non invasive technique like vibration measurement is used for monitoring the performance of machines. This review paper describes the effect of lubricant contamination by solid on the dynamic behaviour of rolling bearing, to figure out the trends within the vibrations of the bearing. Review of paper is made with roller bearings lubricated with contaminated lubricant and healthy grease lubricant. Solid contaminate in three concentration levels and three grain sizes are wont to contaminate the lubricated grease. Vibrations generated during the working of bearing because of contaminants in lubricant are monitor within the terms of the source mean square and crest amplitude values by means of FFT analyzer. The results of contaminant on bearing vibration are considered for both good and defective bearings. The results show remarkable vibration in RMS velocity values on varying the contaminants concentration and grain size.

Abstract This paper aims to demonstrate how Virtual Reality (VR), a technology that gives the user an immersive 3D experience, is being used successfully as part of major accident hazard (MAH) awareness training and how this has been sustained to provide an innovative, powerful method of ongoing workforce engagement. In the VR scenarios designed by DNV, the user carries out a typical operational task, but an error then leads to a loss of containment and fire, or explosion. The realism of the scenario creates a memorable experience and helps users remember key safety messages from the VR and the training programme they are embedded in. The immersive learning environment, which is engaging and fun, has proved to be a highly effective method of learning. Direct learning points include hazards and SECEs that are specific to each scenario, risk assessments and incorporation of the IOGP process safety fundamentals and lifesaving rules, but the discussions that can be had around the VR have proven to be equally valuable. Like the majority of the 10 operators currently using the MAH VR, Harbour Energy have tailored their MAH awareness training around the virtual reality, which has played a critical role in engaging the workforce and facilitating training around the consequences if mistakes are made. The result of the VR technique and planned deployment by Harbour has been further improvement in MAH engagement across the whole company. In a clear demonstration of this success, Harbour Energy have recently won the IChemE Training and Development Award in 2022 for Fostering Process Safety Culture Through Innovation, for their VR programme. The use of VR is a novel method for MAH awareness training, which gives the industry a new approach to this. Harbour's application has shown how to keep this live and engaging over a number of years. It is a safe, cost effective and interactive method that could revolutionise training. In collaboration with Harbour Energy and other Operators, DNV are looking for even more novel ways to develop and use the VR technology.

Attention to safety and health are of ever-increasing priority to industrial organizations. Good Safety is demanded by stockholders, employees, and the community while increasing injury costs provide additional motivation for safety and health excellence. Safety has always been a strong corporate value of DuPont and a vital part of its culture. As a result, DuPont has become a benchmark in safety and health performance. Since 1990, DuPont has re-engineered itself to meet global competition and address future vision. In the new re-engineered organizational structures, DuPont has also had to re-engineer its safety management systems. A special Discovery Team was chartered by DuPont senior management to determine the “best practices’ for safety and health being used in DuPont best-performing sites. A summary of the findings is presented, and five of the practices are discussed. Excellence in safety and health management is more important today than ever. Public awareness, federal and state regulations, and enlightened management have resulted in a widespread conviction that all employees have the right to work in an environment that will not adversely affect their safety and health. In DuPont, we believe that excellence in safety and health is necessary to achieve global competitiveness, maintain employee loyalty, and be an accepted member of the communities in which we make, handle, use, and transport products. Safety can also be the “catalyst” to achieving excellence in other important business parameters. The organizational and communication skills developed by management, individuals, and teams in safety can be directly applied to other company initiatives. As we look into the 21st Century, we must also recognize that new organizational structures (flatter with empowered teams) will require new safety management techniques and systems in order to maintain continuous improvement in safety performance. Injury costs, which have risen dramatically in the past twenty years, provide another incentive for safety and health excellence. Shown in the Figure 1, injury costs have increased even after correcting for inflation. Many companies have found these costs to be an “invisible drain” on earnings and profitability. In some organizations, significant initiatives have been launched to better manage the workers’ compensation systems. We have found that the ultimate solution is to prevent injuries and incidents before they occur. A globally-respected company, DuPont is regarded as a well-managed, extremely ethical firm that is the benchmark in industrial safety performance. Like many other companies, DuPont has re-engineered itself and downsized its operations since 1985. Through these changes, we have maintained dedication to our principles and developed new techniques to manage in these organizational environments. As a diversified company, our operations involve chemical process facilities, production line operations, field activities, and sales and distribution of materials. Our customer base is almost entirely industrial and yet we still maintain a high level of consumer awareness and positive perception. The DuPont concern for safety dates back to the early 1800s and the first days of the company. In 1802 E.I. DuPont, a Frenchman, began manufacturing quality grade explosives to fill America’s growing need to build roads, clear fields, increase mining output, and protect its recently won independence. Because explosives production is such a hazardous industry, DuPont recognized and accepted the need for an effective safety effort. The building walls of the first powder mill near Wilmington, Delaware, were built three stones thick on three sides. The back remained open to the Brandywine River to direct any explosive forces away from other buildings and employees. To set the safety example, DuPont also built his home and the homes of his managers next to the powder yard. An effective safety program was a necessity. It represented the first defense against instant corporate liquidation. Safety needs more than a well-designed plant, however. In 1811, work rules were posted in the mill to guide employee work habits. Though not nearly as sophisticated as the safety standards of today, they did introduce an important basic concept — that safety must be a line management responsibility. Later, DuPont introduced an employee health program and hired a company doctor. An early step taken in 1912 was the keeping of safety statistics, approximately 60 years before the federal requirement to do so. We had a visible measure of our safety performance and were determined that we were going to improve it. When the nation entered World War I, the DuPont Company supplied 40 percent of the explosives used by the Allied Forces, more than 1.5 billion pounds. To accomplish this task, over 30,000 new employees were hired and trained to build and operate many plants. Among these facilities was the largest smokeless powder plant the world had ever seen. The new plant was producing granulated powder in a record 116 days after ground breaking. The trends on the safety performance chart reflect the problems that a large new work force can pose until the employees fully accept the company’s safety philosophy. The first arrow reflects the World War I scale-up, and the second arrow represents rapid diversification into new businesses during the 1920s. These instances of significant deterioration in safety performance reinforced DuPont’s commitment to reduce the unsafe acts that were causing 96 percent of our injuries. Only 4 percent of injuries result from unsafe conditions or equipment — the remainder result from the unsafe acts of people. This is an important concept if we are to focus our attention on reducing injuries and incidents within the work environment. World War II brought on a similar set of demands. The story was similar to World War I but the numbers were even more astonishing: one billion dollars in capital expenditures, 54 new plants, 75,000 additional employees, and 4.5 billion pounds of explosives produced — 20 percent of the volume used by the Allied Forces. Yet, the performance during the war years showed no significant deviation from the pre-war years. In 1941, the DuPont Company was 10 times safer than all industry and 9 times safer than the Chemical Industry. Management and the line organization were finally working as they should to control the real causes of injuries. Today, DuPont is about 50 times safer than US industrial safety performance averages. Comparing performance to other industries, it is interesting to note that seemingly “hazard-free” industries seem to have extraordinarily high injury rates. This is because, as DuPont has found out, performance is a function of injury prevention and safety management systems, not hazard exposure. Our success in safety results from a sound safety management philosophy. Each of the 125 DuPont facilities is responsible for its own safety program, progress, and performance. However, management at each of these facilities approaches safety from the same fundamental and sound philosophy. This philosophy can be expressed in eleven straightforward principles. The first principle is that all injuries can be prevented. That statement may seem a bit optimistic. In fact, we believe that this is a realistic goal and not just a theoretical objective. Our safety performance proves that the objective is achievable. We have plants with over 2,000 employees that have operated for over 10 years without a lost time injury. As injuries and incidents are investigated, we can always identify actions that could have prevented that incident. If we manage safety in a proactive — rather than reactive — manner, we will eliminate injuries by reducing the acts and conditions that cause them. The second principle is that management, which includes all levels through first-line supervisors, is responsible and accountable for preventing injuries. Only when senior management exerts sustained and consistent leadership in establishing safety goals, demanding accountability for safety performance and providing the necessary resources, can a safety program be effective in an industrial environment. The third principle states that, while recognizing management responsibility, it takes the combined energy of the entire organization to reach sustained, continuous improvement in safety and health performance. Creating an environment in which employees feel ownership for the safety effort and make significant contributions is an essential task for management, and one that needs deliberate and ongoing attention. The fourth principle is a corollary to the first principle that all injuries are preventable. It holds that all operating exposures that may result in injuries or illnesses can be controlled. No matter what the exposure, an effective safeguard can be provided. It is preferable, of course, to eliminate sources of danger, but when this is not reasonable or practical, supervision must specify measures such as special training, safety devices, and protective clothing. Our fifth safety principle states that safety is a condition of employment. Conscientious assumption of safety responsibility is required from all employees from their first day on the job. Each employee must be convinced that he or she has a responsibility for working safely. The sixth safety principle: Employees must be trained to work safely. We have found that an awareness for safety does not come naturally and that people have to be trained to work safely. With effective training programs to teach, motivate, and sustain safety knowledge, all injuries and illnesses can be eliminated. Our seventh principle holds that management must audit performance on the workplace to assess safety program success. Comprehensive inspections of both facilities and programs not only confirm their effectiveness in achieving the desired performance, but also detect specific problems and help to identify weaknesses in the safety effort. The Company’s eighth principle states that all deficiencies must be corrected promptly. Without prompt action, risk of injuries will increase and, even more important, the credibility of management’s safety efforts will suffer. Our ninth principle is a statement that off-the-job safety is an important part of the overall safety effort. We do not expect nor want employees to “turn safety on” as they come to work and “turn it off” when they go home. The company safety culture truly becomes of the individual employee’s way of thinking. The tenth principle recognizes that it’s good business to prevent injuries. Injuries cost money. However, hidden or indirect costs usually exceed the direct cost. Our last principle is the most important. Safety must be integrated as core business and personal value. There are two reasons for this. First, we’ve learned from almost 200 years of experience that 96 percent of safety incidents are directly caused by the action of people, not by faulty equipment or inadequate safety standards. But conversely, it is our people who provide the solutions to our safety problems. They are the one essential ingredient in the recipe for a safe workplace. Intelligent, trained, and motivated employees are any company’s greatest resource. Our success in safety depends upon the men and women in our plants following procedures, participating actively in training, and identifying and alerting each other and management to potential hazards. By demonstrating a real concern for each employee, management helps establish a mutual respect, and the foundation is laid for a solid safety program. This, of course, is also the foundation for good employee relations. An important lesson learned in DuPont is that the majority of injuries are caused by unsafe acts and at-risk behaviors rather than unsafe equipment or conditions. In fact, in several DuPont studies it was estimated that 96 percent of injuries are caused by unsafe acts. This was particularly revealing when considering safety audits — if audits were only focused on conditions, at best we could only prevent four percent of our injuries. By establishing management systems for safety auditing that focus on people, including audit training, techniques, and plans, all incidents are preventable. Of course, employee contribution and involvement in auditing leads to sustainability through stakeholdership in the system. Management safety audits help to make manage the “behavioral balance.” Every job and task performed at a site can do be done at-risk or safely. The essence of a good safety system ensures that safe behavior is the accepted norm amongst employees, and that it is the expected and respected way of doing things. Shifting employees norms contributes mightily to changing culture. The management safety audit provides a way to quantify these norms. DuPont safety performance has continued to improve since we began keeping records in 1911 until about 1990. In the 1990–1994 time frame, performance deteriorated as shown in the chart that follows: This increase in injuries caused great concern to senior DuPont management as well as employees. It occurred while the corporation was undergoing changes in organization. In order to sustain our technological, competitive, and business leadership positions, DuPont began re-engineering itself beginning in about 1990. New streamlined organizational structures and collaborative work processes eliminated many positions and levels of management and supervision. The total employment of the company was reduced about 25 percent during these four years. In our traditional hierarchical organization structures, every level of supervision and management knew exactly what they were expected to do with safety, and all had important roles. As many of these levels were eliminated, new systems needed to be identified for these new organizations. In early 1995, Edgar S. Woolard, DuPont Chairman, chartered a Corporate Discovery Team to look for processes that will put DuPont on a consistent path toward a goal of zero injuries and occupational illnesses. The cross-functional team used a mode of “discovery through learning” from as many DuPont employees and sites around the world. The Discovery Team fostered the rapid sharing and leveraging of “best practices” and innovative approaches being pursued at DuPont’s plants, field sites, laboratories, and office locations. In short, the team examined the company’s current state, described the future state, identified barriers between the two, and recommended key ways to overcome these barriers. After reporting back to executive management in April, 1995, the Discovery Team was realigned to help organizations implement their recommendations. The Discovery Team reconfirmed key values in DuPont — in short, that all injuries, incidents, and occupational illnesses are preventable and that safety is a source of competitive advantage. As such, the steps taken to improve safety performance also improve overall competitiveness. Senior management made this belief clear: “We will strengthen our business by making safety excellence an integral part of all business activities.” One of the key findings of the Discovery Team was the identification of the best practices used within the company, which are listed below: ▪ Felt Leadership – Management Commitment ▪ Business Integration ▪ Responsibility and Accountability ▪ Individual/Team Involvement and Influence ▪ Contractor Safety ▪ Metrics and Measurements ▪ Communications ▪ Rewards and Recognition ▪ Caring Interdependent Culture; Team-Based Work Process and Systems ▪ Performance Standards and Operating Discipline ▪ Training/Capability ▪ Technology ▪ Safety and Health Resources ▪ Management and Team Audits ▪ Deviation Investigation ▪ Risk Management and Emergency Response ▪ Process Safety ▪ Off-the-Job Safety and Health Education Attention to each of these best practices is essential to achieve sustained improvements in safety and health. The Discovery Implementation in conjunction with DuPont Safety and Environmental Management Services has developed a Safety Self-Assessment around these systems. In this presentation, we will discuss a few of these practices and learn what they mean. Paper published with permission.