Rozprawy doktorskie: „Cinema Service”

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Andrews, Hannah. "Public service broadcasters and British cinema, 1990–2010". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/44037/.

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The relationship between television institutions and film in Britain has a complex history, influenced by profound changes in both industries over time. The involvement of public service broadcasters (PSBs) in British cinema has been a regularly-acknowledged, but under-examined phenomenon. There is a dearth of up-to-date scholarship dealing with the relationship, particularly as it unfolded over the turbulent decades of the 1990s and 2000s. This thesis updates and expands the existing field on the relationship between British television and film cultures. It does so by examining the ways in which PSBs have been involved in film culture, as producers, distributors and exhibitors. It also discusses the significant changes to this relationship wrought by the coming into dominance of digital technologies, and the responses of the PSBs to digitalisation. The body of the thesis is separated into two parts. Part One examines the relationship between television and film at the end of the analogue era, ending roughly in 2002. The first chapter explores the historical background to television films in Britain, discussing the semantic turn from describing single dramas shown on television as ‘plays’ and ‘films’. The second chapter outlines three case studies which explore the relationship between television and distribution. The third chapter discusses the industrial relationship between film and television, and the distinct discourses of ‘quality’ applied to each form. The second part of the thesis discusses the effects of digital technologies on the PSB’s role as producer, distributor and exhibitor of films. Chapter Four explores the position of the PSB as patron of low-budget, digital production schemes. In Chapter Five, the opening night and subsequent decade of broadcasting on the FilmFour digital television channel is analysed. Chapter Six takes as its subject the online film output of the BBC, particularly via its iPlayer platform, and its short film distribution network, the BBC Film Network.

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Hsieh, Ming Chih. "Service provisioning in two open-source SIP implementation, cinema and vocal". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1008195.

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The distribution of real-time multimedia streams is seen nowadays as the next step forward for the Internet. One of the most obvious uses of such streams is to support telephony over the Internet, replacing and improving traditional telephony. This thesis investigates the development and deployment of services in two Internet telephony environments, namely CINEMA (Columbia InterNet Extensible Multimedia Architecture) and VOCAL (Vovida Open Communication Application Library), both based on the Session Initiation Protocol (SIP) and open-sourced. A classification of services is proposed, which divides services into two large groups: basic and advanced services. Basic services are services such as making point-to-point calls, registering with the server and making calls via the server. Any other service is considered an advanced service. Advanced services are defined by four categories: Call Related, Interactive, Internetworking and Hybrid. New services were implemented for the Call Related, Interactive and Internetworking categories. First, features involving call blocking, call screening and missed calls were implemented in the two environments in order to investigate Call-related services. Next, a notification feature was implemented in both environments in order to investigate Interactive services. Finally, a translator between MGCP and SIP was developed to investigate an Internetworking service in the VOCAL environment. The practical implementation of the new features just described was used to answer questions about the location of the services, as well as the level of required expertise and the ease or difficulty experienced in creating services in each of the two environments.
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Dutra, Diego Normandi Maciel. "Design para acessibilidade: inclusão de pessoas com deficiência visual ao serviço de cinema". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-16022017-124050/.

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O censo demográfico apresentado pelo IBGE em 2010 apontou cerca de 45 milhões de pessoas com alguma deficiência vivendo no Brasil, dentre as quais 35 milhões são deficientes visuais. Apesar de consistir grande parcela da população, são notáveis as barreiras que esse público enfrenta para ter acesso à cultura e ao lazer, pois as iniciativas de inclusão em ambientes de convívio social são limitadas e muitas vezes inexistentes. Sob o olhar do Design, e com base em métodos relacionados Design de Serviços, este trabalho apresenta uma pesquisa não propositiva sobre acessibilidade daquele público em salas de cinema, considerando toda a complexidade que envolve essa experiência, desde, por exemplo, a produção de filmes até a experiência propriamente dita nos espaços de projeção.
The census presented by IBGE in 2010 showed about 45 million people with disabilities living in Brazil, of which 35 million are visually impaired. Despite this fact, persons with disabilities face obvious barriers to cultural and leisure services due to the limitation or lack of attitudinal and environmental inclusion initiatives. From a Design perspective, and based on Service Design methods, this paper presents a research on accessibility in cinemas, considering the complexity that surrounds this experience, the production of films, and the experience itself in projection rooms.

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Launey, Stéphane. "Pellicules en uniformes : le cinéma au service des forces armées françaises, septembre 1919 - juin 1940". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H041.

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Cette thèse a pour vocation de combler un vide historiographique, à savoir l’étude d’une pluralité de l’emploi du cinéma par les forces armées françaises, de la mise en veilleuse des structures en septembre 1919 à l’armistice de juin 1940. Ce travail s’est appuyé sur des archives inédites rapatriées de Russie qui éclairent sous un jour nouveau le lien entre le cinéma et le ministère de la Guerre – et de fait l’Armée – notamment à des fins d’instruction. Notre étude se structure autour d’un double mouvement au cœur de notre problématique : d’une part celui de l’utilisation du médium au sein de l’institution militaire et, d’autre part, son inscription dans le paysage étatique d’un cinéma à la fois d’enseignement, éducateur et de propagande qui connaît un certain âge d’or. La première partie porte sur une analyse structurelle de la Section cinématographique de l’armée (SCA) qui renaît au mitan de l’année 1920, avec une mise en regard de ses enjeux et de ses avancées pendant l’entre-deux-guerres. En parallèle, la question d’un emploi du cinéma au sein de la Marine nationale et de l’Armée de l’Air révèle un usage politique, visant à répondre à des défis structurels. Dans une seconde partie, nous étudions la production de la SCA, à la fois les films d’instruction – cœur de sa filmographie – et ceux s’inscrivant dans une logique d’éducation (morale, patriotique ou prophylactique) et de propagande notamment coloniale. Enfin, notre propos explore la mutation du cinéma militaire et son entrée dans l’âge adulte de la « drôle de la guerre » à juin 1940
This thesis aims to fill a historiographic vacuum. Namely, it studies the plurality of the use of cinema by the French Armed Forces between the time war cinema was put on hold in September 1919 and the Armistice of June 1940. This work is based on unpublished archives, which were repatriated from Russia. They shed a new light on the link between cinema and the Ministry of War (including the Army), especially for educational purposes. Our study is structured around a double movement, which is at the heart of our research problem: the use of the medium within the military institution, and its inscription in the state landscape of a cinema simultaneously used for education and propaganda ; this plurality attained a certain golden age at that point. The first movement deals with a structural analysis of the Army Cinema Section (ACS), which reemerged in summer 1920, and it includes an overview of its stakes and progress during the interwar period. At the same time, the question of the use of cinema in the French Navy and Air Force reveals a political use, which was focused on meeting structural challenges. In the second part, we study the production of the ACS, including the instructional films at the heart of this filmography, other educational films (such as moral, patriotic, or prophylactic), and propaganda films (particularly colonial). Finally, we explore the mutation of military cinema and its entry into a fully developed age: from the "Phoney War" to June 1940

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Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.

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Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiés
This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections

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Brown, James, i 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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Bareišis, Audrius. "Dramaturgijos raiška TV laidoje „Nacionalinė paieškų tarnyba"". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20110709_152437-73944.

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Televizija perėmė dviejų menų – iš pradžių teatro, vėliau ir kino puoselėtas dramaturgijos raiškos priemones bei sukūrė savitą dramos pasaulį, kurio žiūrovas – prieš televizoriaus ekraną sėdintys žmonės. Televizijos dramaturgija žengia vos pirmuosius žingsnius, lyginant ją su dešimtmečių ar net šimtmečių patirtį turinčiais kinu bei teatru, todėl iki šiol nėra atliktos platesnės TV dramaturgijos studijos. Šio baigiamojo magistro darbo tyrimo objektas yra Lietuvos radijo ir televizijos projekto „Nacionalinė paieškų tarnyba“ analizė bei dramaturgijos raiškos televizijoje tyrimas. Tyrimui bei analizei laida „Nacionalinė paieškų tarnyba“ pasirinkta dėl savo unikalaus – Lietuvos televizijose – pobūdžio. Analogų lietuviškose televizijos programose neturinti laida, padedanti po pasaulį išblaškytiems giminaičiams ir artimiesiems surasti vienam kitą. Atlikto darbo tikslas buvo ištirti, kaip dramaturgija yra perteikta konkrečioje televizijos laidoje, kokius teatre bei kine pritaikytus dramos elementus perėmė TV projektai ir kokį poveikį žiūrovų auditorijai daro dramaturgijos elementų panaudojimas televizijoje. Baigiamojo magistro darbo uždaviniai buvo susiję su dramaturgijos elementų pritaikymo televizijoje analize, dramaturgijos raiškos lietuviškoje TV tendencijų aprašymų bei perspektyvų įvertinimu. Buvo siekiama nustatyti dramos kūrinių reikšmę televizijos programose bei apibendrinti TV auditorijos poreikius bei lūkesčius susijusius su dramaturgija. Šio darbo metodai – laidos... [toliau žr. visą tekstą]
The television applied dramaturgy expression methods that were nurtured by theater at the beginning and later by cinema and created original drama world whose spectators are people sitting in front of the television. The television dramaturgy takes barely its first steps, compared with theater and cinema which have the experience of decades or even centuries; therefore there are no wider TV drama study. An object of the master thesis is an analysis of Lithuanian radio and television project National search service and research of dramaturgy expression. The show National search service was chosen because of its uniqueness in Lithuanian television channels. The show which helps to find one‘s own flesh and blood dissipated in the world is the broadcast that has no analogues in the programmes of Lithuanian television channels. The goal was to examine how dramaturgy was conveyd in a particular television broadcast, what theatrical and cinematic dramaturgy elements were adopted in TV projects and what impact the dramaturgy elements make on an audience in the television. The objectives of the master thesis were coherent with the analysis of dramaturgy elements applied in television, the description of trends of dramaturgy expression in Lithuanian TV and the evaluation of prospects. The main focus was to determine the significance of drama pieces in television programmes and to summarize TV audience needs and expectations related to dramaturgy. The methods of the study involve... [to full text]

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Tabeau, Tiffanie. "Le droit administratif et l'exploitation des oeuvres cinématographiques". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM1067.

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L'étude de l'exploitation des oeuvres cinématographiques sous le prisme du droit administratif révèle un pan peu connu du droit du cinéma. Loin des idées reçues, la recherche démontre combien le droit administratif a d'abord été un instrument visant à préserver et à promouvoir les salles de cinéma et combien il reste aujourd'hui un moyen puissant de promotion de la diffusion des oeuvres cinématographiques. Par ailleurs, à l'heure où les modes numériques de diffusion du cinéma vont profondément bouleverser l'industrie cinématographique, la thèse confirme qu'il ne fait aucun doute que le cadre juridique de son développement va nécessairement être fragilisé. De nouveaux défis vont devoir être relevés par le droit, car la salle, comme support principal de l'oeuvre, est désormais confrontée à la numérisation des équipements, l'émergence du hors-film, ou l'obsolescence programmée de l'actuelle chronologie des médias. Tout ceci impliquera donc une adaptation, voire une mutation, du droit administratif s'il souhaite conserver une place centrale dans la régulation de l'exploitation des oeuvres cinématographiques. L'intention principale de cette thèse est donc de révéler et de comprendre la persistante nécessité d'un encadrement par le droit administratif de la diffusion des oeuvres cinématographiques. Pour ce faire, avant de démontrer combien le droit administratif constitue encore aujourd'hui un moyen légitime d'organisation et de soutien de la projection-diffusion des oeuvres, il sera révélé que ce droit « dérogatoire », bien que contraignant, s'est très vite avéré indispensable à l'existence même de spectacles de cinéma et au maintien d'une industrie cinématographique française
The study of the exploitation of films through the prism of administrative law reveals a little-known side of cinema law. Indeed, far from the preconceptions, research shows how administrative law was first an instrument to preserve and promote movie theaters and how it remains today a powerful means of promoting and distributing cinematographic works.Moreover, at a time when digital cinema distribution methods will totally disrupt the film industry, the thesis confirms that there is no doubt that the legal framework for its development will necessarily be weakened. New challenges will have to be officially recorded by the law, because the cinema hall (movie theater), as the principal medium of the work, is now faced with scanning equipment or planned obsolescence of the current media timeline. All this therefore implies an adaptation or mutation of administrative law if its duty is to retain a central role in regulating the exploitation of cinematographic works. The main intention of this thesis is to reveal and to understand the continued need for a framework formed by the administrative law of cinematographic works. To do this, before showing how administrative law is still a legitimate way to organize and support the distribution-projection of works, it will first be shown that "special" law, although binding, was very quickly essential to the very existence of movie performances and generally speaking, to the maintenance of the French film industry

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Graham, Mark A. "Afghanistan and the cinema the politics of representation in Kandahar and Osama /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2006. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2006.
Source: Masters Abstracts International, Volume: 45-06, page: 2696. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaves 137-145).

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Gonzales, Antonio. "Images et imaginaires cinéma et histoire au service d'une "néo-mythologie"". Besançon, 1990. http://www.theses.fr/1990BESA1022.

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Ce travail a pour ambition de démontrer les liens qui existent entre cinéma et histoire. L'objet de cette recherche fut en son fondement celui de la question suivante : l'histoire peut-elle être correctement adaptée au cinéma ? D'emblée, nous fumes confronte à un problème de taille quant à l'adaptation très libre de l'histoire par un genre filmique particulier : le péplum. Nous dûmes alors effectuer un travail de relecture des contenus discursifs et du cinéma et de l'histoire d'où les nécessaires mises au point liées au langage filmique et son action de transcodage de l'histoire. Ainsi, après avoir mis en évidence le rôle déterminant joué par le discours filmique sur le discours historique, nous avons pu confirmer une hypothèse de départ ; l'histoire dans le genre filmique que nous avons étudié n'est qu'un prétexte a un discours filmique en voie d'"autonomie". La constitution en langage filmique autonome définit alors le discours de genre ou plutôt le discours "peplumeen" en ce qui concerne notre étude. Cependant, l'histoire en l'occurrence ancienne, si elle n'est que le prétexte au discours filmique, n'en demeure pas moins la base de ce discours. Cette concomitance entre discours filmique et discours sur l'histoire nous a amené à définir un nouveau concept d'approche de ce discours sur l'histoire que nous avons qualifié de "néo-mythologie" ; celle-ci opérant au sein du discours sur l'histoire ancienne, dans un cadre chronologique et thématique particulier : l'évolution de l'adaptation d'hercule au cinéma. En définitive, l'opération de transcodage s'effectue à l'avantage du discours filmique.

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Hellio, Jean-Michel. "L'ambivalence baroque : une esthétique picturale au service d'une représentation cinématographique". Caen, 2002. http://www.theses.fr/2002CAEN1355.

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La finalité de l'analyse que nous entreprenons repose sur l'examen du principe moteur attaché au courant baroque : l'expérience du mouvement. Cependant, la pensée baroque ne saurait se résumer à l'exacerbation de l'instant vécu pleinement, car le mouvement étudié, sans cesse en voie de métamorphose, multipliant les antagonismes, les paradoxes, masque un enjeu qui concrétise l'expression d'une rupture (signe d'une contestation des règles établies). À partir de la déclinaison que nous venons de préciser, il s'agit de proposer des critères d'appréciation susceptibles de circonscrire une esthétique de la contradiction (la terribilita, le tourbillon, l'illusion, la tension, l'instantanéité, l'hyperréalité, la fragmentation, la décantation). L'examen sera envisagé à travers la connaissance de ce dialecte abondant qu'est la peinture baroque, de manière à faire surgir les signes caractéristiques d'identités multiples. Cette expérience s'inscrit donc dans une logique qui envisage la représentation du mouvement en peinture comme le témoignage inachevé d'une entreprise destinée à s'élargir au cinéma et aux réponses apportées par l'expérience cinétique. Aussi, parmi les cinéastes qui ont inscrit la dialectique de l'ambivalence au coeur même de leur rapport au réel, nous retiendrons ceux dont le mode opératoire parvient à démontrer une esthétique issue de la peinture baroque. Nous examinerons à l'intérieur des oeuvres cinématographiques retenues l'amplitude du mouvement baroque. L'évolution du western étudiée au rythme de ses ruptures historiques (de Ford à Eastwood), l'exercice cinétique contrarié (Kubrick), l'image kaléidoscopique du polar (Scorsese, De Palma), les leurres d'une parole mensongère (Welles, Mankiewicz), la séduction avortée d'un cinéma romantique (Ophuls, Sternberg), enfin, l'expérience d'un cinéma historique et/ou social confronté à l'identité italienne (la noblesse de Visconti, la bohème de Fellini) constitueront les axes directeurs de notre étude.

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Baptista, Valdir. "Registro audiovisual da omissão do estado brasileiro nas políticas públicas de saúde segundo depoimento de lideranças indígenas". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/6/6136/tde-05122016-142523/.

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Método: Trata-se de uma pesquisa qualitativa de cunho documental utilizando o audiovisual como lócus de instalação de depoimentos de lideranças indígenas do Estado do Acre, Brasil. O objetivo é analisar registros de vivências de lideranças indígenas sobre suas condições de vida, como contribuição às políticas públicas do SUS. E apresentar uma proposta interventiva a partir das potencialidades do vídeo documentário. Resultados: A população indígena, por uma série de motivos, certamente é a parcela da população brasileira sobre a qual menos existem dados específicos que permitam o estabelecimento de políticas de saúde pública eficazes. Embora tenham ocorrido avanços significativos no conhecimento das questões indígenas e um crescente empoderamento das lideranças indígenas na luta por seus direitos básicos de cidadania, a situação ainda está aquém do esperado. Temas relevantes abordados: 1. Participação nas instâncias do poder público/ direitos indígenas. 2. Medicina tradicional exterioridade da doença. 3. Dificuldades com o SUS. 4. Cuidados de saúde nas aldeias. 5. Segurança Alimentar e desnutrição. 6. Qualidade da água e saneamento básico. 7. Logística. 8. Cobertura vacinal. 9. Saúde das mulheres indígenas. 10. Ecologia e biodiversidade. 11. Morte de crianças indígenas. Conclusões: 1. A omissão sistemática dos governos em qualificar agentes de saúde indígenas no tocante às intervenções em saúde individual e coletiva e no exercício dos direitos sociais. 2. Falta de empenho do SUS em contratar profissionais com formação especializada para compor as equipes e direções do Sistema de Saúde que atuam nas aldeias e nos postos avançados de saúde no interior do território. 3. Dificuldades de comunicação entre as equipes do SUS e os povos indígenas. Há barreiras de idioma, de cultura e de percepção do processo saúde-doença
Method: This is a qualitative research that uses the documentary audio-visual like a place of installation register statements of native indigenous leaders of Acre, Brazil. The objective is to analyze records of indigenous leaders from experiences about their living conditions as a contribution to public SUS policies. And present an interventional proposal from the documentary video potentiality. Results: The indigenous population, for a number of reasons, it is certainly the Brazilian population, on which there is less specific data that allow the establishment of effective public health policies. Although there have been significant advances in knowledge of indigenous issues and a growing empowerment of indigenous leaders in the struggle for their basic rights of citizenship, the situation is still below expectations. Relevant topics approached:1. Participation in public authoritys instances / indigenous rights. 2. Traditional medicine - externality of the disease. 3. Difficulties with SUS. 4. Health care in villages. 5. Food security and malnutrition. 6. Water quality and basic sanitation. 7. Logistics. 8. Vaccination coverage. 9. Indigenous women\'s health. 10. Ecology and biodiversity. 11. Death of indigenous children. Conclusions: 1. the systematic omission of governments in qualify indigenous health workers with regard to the individual and collective health interventions and the exercise of social rights. 2. Lack of commitment of the SUS in hiring professionals with specialized training to compose the teams and directions of the Health System that work in the villages and in the outposts of health in the territory. 3. Difficulties in communication between SUS teams and indigenous peoples. There are barriers to language, culture and perception of the health-disease process

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Toscano, Luca. "Migration strategies from IPv4 to IPv6 in a complex service provider environment". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amslaurea.unibo.it/4482/.

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Progettazione ed implementazione di una strategia di migrazione da IPv4 a IPv6 in una realtà complessa come quella del consorzio interuniversitario CINECA. Sono stati presi in considerazione sia i livelli di rete e trasporto, sia il livello applicativo, cercando di fornire una visione completa delle problematiche incontrate. La strategia di migrazione scelta comprende le scelte tecniche fino ad ora implementate dal CINECA e i successivi passi che verranno intrapresi in futuro.

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Johansson, Jesper. "Success at the box office in the age of streaming services : An examination of how streaming services have impacted the dynamics of successful movies in the cinema". Thesis, Internationella Handelshögskolan, Jönköping University, IHH, Nationalekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-50486.

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Netflix and other streaming services have grown immensely since they started offering online streaming. In this paper I present a correlation matrix using ticket sales at the domestic box office and the number of Netflix subscribers. They are shown to be negatively correlated with one another, supporting many previous researchers’ thoughts on the topic. I also show using two OLS regressions with data from movies released in 2006-2007 and 2017-2018 that being a part of a franchise has a stronger correlation with increased revenue in the latter model compared to the previous one. In the models one can also see that the general quality of a movie, as measured by IMDb rating, is associated with a higher increase in revenue in the latter model. I argue that this is due to consumers being inclined to watch what they perceive to be high-quality movies in the theaters in the latter model as they can conveniently watch movies of a poorer quality on their streaming service, an option that was not available to the same extent previously. I also argue that consumers are more willing to commit to going to the cinema for a franchise movie, especially in the Marvel cinematic universe, as they are often effects driven movies which are better experienced on a large screen. The budget variable is significant in both models, but the coefficient is much smaller in the second model. I argue that this is due to the fact that a higher budget is required for movies released in 2017-2018 to maintain the same level of revenue as in 2006 and 2007 due to the competition that have come from streaming services. However, I conclude that more research is necessary before drawing definite conclusions as the market for cinema is highly uncertain and difficult to estimate accurately.

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Koutou, Jean Emmanuel. "Contribution à l'étude de la fixation des prix dans le tertiaire immateriel : le cas des prestateurs de films au cinéma". Lyon 3, 1992. http://www.theses.fr/1992LYO3A002.

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Jacometti, Marco Alexander Azon. "Enhancing ecosystem services in vineyards to improve the management of Botrytis cinerea". Phd thesis, Lincoln University. Bio-Protection and Ecology Division, 2007. http://theses.lincoln.ac.nz/public/adt-NZLIU20070126.115223/.

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Organic mulches and cover crops mulched in situ were assessed for their effects on B. cinerea primary inoculum and disease levels in inflorescences at flowering and/or bunches at harvest. Organic mulches were used to enhance biological degradation of vine debris to reduce levels of B. cinerea primary inoculum the following season. Four mulch types (anaerobically and aerobically fermented marc (grape pressings), inter-row grass clippings and shredded office paper) were applied under ten-year-old Riesling vines in a ten-replicate randomized block design in New Zealand over two consecutive years. Plastic mesh bags, each containing naturally infected vine debris, were placed under vines on bare ground (control) and at the soil-mulch interface, in winter (July) 2003 and 2004. In each year, half the bags were recovered at flowering (December) and the remainder at leaf plucking (February), for assessment of B. cinerea sporulation from the vine debris and debris degradation rate. Bait lamina probes, which measure soil biological activity, were placed in the soil-mulch interface three weeks before each of the two bag-recovery dates in both years and were then removed and assessed at the same times as were the bags. All mulches led to a reduction in B. cinerea sporulation. This reduction was significantly correlated with elevated rates of vine debris decomposition and increased soil biological activity. Over both years, compared with the controls, all treatments gave a 3-20-fold reduction in B. cinerea sporulation, a 1.6-2.6-fold increase in vine debris degradation and in the two marc and the paper treatments, a 1.8-4-fold increase in activity of soil organisms. The mulches also altered vine characteristics and elevated their resistance to B. cinerea through changes to the soil environment. Functional soil biological activity, as measured by Biolog Ecoplates and bait lamina probes, was increased 2-4 times in the two marc and paper treatments, compared with the control, an effect relating to the elevated soil moisture and reduced temperature fluctuations under these mulches. Soil nutrient levels and the C:N ratios were also affected in these treatments. The mulched paper lowered vine canopy density by up to 1.4 times that of the other treatments, an effect which probably led to elevated light penetration into the canopy and consequent increased canopy temperature, photosynthesis and lowered canopy humidity. These changes to soil and vine characteristics increased grape skin strength by up to 10% in the paper treatment and sugar concentrations by 1.2-1.4 °Brix in the two marc and paper treatments. The severity of B. cinerea infections in the anaerobic marc, aerobic marc and paper treatments were reduced to 12%, 3% and 2.2% of the control, respectively, in field assessments averaged over two consecutive harvests. Cover crops mulched in situ had similar effects to those of the organic mulches, increasing soil biological activity and reducing B. cinerea primary inoculum and the severity of B. cinerea infection in grapes at harvest (2006). Inter-row phacelia and ryegrass were mulched in winter 2005 and compared with a bare ground control, under 10-year-old Chardonnay vines in a ten-replicate randomized block design. Functional soil biological activity increased by 1.5-4.5 times in the two cover crop treatments compared with the control, an effect possibly related to elevated soil moisture in these treatments. This increase in soil moisture and soil biological activity increased vine debris degradation, reduced B. cinerea primary inoculum on the debris and decreased B. cinerea severity at flowering (December 2005) and harvest (April 2006). These results show the potential of organic mulches and cover crops mulched in situ to enhance soil ecosystem services and improve the sustainability of viticultural practices.

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Dilly, Monique. "Les magazines de cinéma à la télévision française de 1952 à 200 : histoire, dispositifs et contenus". Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Dilly.Monique.LMZ0604.pdf.

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Si, au début de la télévision, les magazines de cinéma étaient nombreux, ils ont disparu au fil du temps et sont remplacés par des tranches promotionnelles qui vantent les films sans donner une réelle information sur les œuvres. La question est de savoir comment cette évolution a eu lieu et pourquoi y a-t-il eu ce changement dans la médiatisation qui, initialement, poursuivait une finalité artistique et semble, à présent, avoir une finalité commerciale ? Ancré dans des travaux d'analyse du discours médiatique et dans d'autres portant sur l'histoire du média télévisuel, on développe l'hypothèse que la télévision a changé parce que ces fonctions dominantes ont changé. Toute modification de la fonction majeure entraîne alors une transformation de la fonction stratégique et des dispositifs des magazines, et donc de l'image qui est donnée du cinéma. En découle une périodisation des magazines qui correspond aux étapes successives de l'évolution du média : une première période, de 1952 à 1975, est marquée par une logique de service public où les missions de la télévision sont d'informer, de divertir et de cultiver. Le cinéma est montré comme un monde de métiers et de valeurs, un modèle à imiter, un art ; une deuxième période, de 1975 à 1985, débute par l'éclatement de l'ORTF où la télévision commence à s'émanciper du modèle cinématographique ; le cinéma est un art et un business. La fonction télévisuelle de référence est d'informer et de divertir ; une troisième période, de 1985 à 2000, est caractérisée par la privatisation de TF1 en 1986 ; la télévision utilise le cinéma pour sa propre promotion, le cinéma est devenu un support et la fonction stratégique dominante est de divertir. Dans l'avenir, pourra-t-on voir un magazine de réflexion et de critique sur le cinéma ? La course à l'audimat et l'obsession de la rentabilité ne sont pas des atouts à cet égard. Néanmoins, ce genre de programme se situera peut-être sur le câble, où des chaînes sont consacrées exclusivement au septième art
Informative film reviews were very common on early French television but gradually made way for more commercial slots that promote films rather than provide any real information on the film itself. What concerns us here is why did the shift from the initial artistic to the now commercial aspirations of these programmes take place? Based on an analysis of the discourse of the media, on the one hand, and a study of the history of television, on the other, we establish the premise that television has changed because its main functions have changed. These changes in main functions, in turn, lead to a transformation of television's strategic functions and the content of its informative programmes, thus contributing to a new image of cinema. Informative film reviews can be broken down into three periods, corresponding to the distinct developments that have taken place over the course of French television history: the first period, from 1952 to 1975, where television conforms to the role public service and where its remit is to inform, entertain and educate. The world of cinema is one of craft and values, something to be imitated, it is an art; the second period, from 1975 to 1985, sees the disintegration of the ORTF and a move away of television from the example set by the cinema; film-making is an art and a business. The main function of television is to inform and entertain; the third and final period, from 1985 to 2000, sees the privatisation of TF1 in 1986; television now uses the cinema as a means of promoting itself. Cinema is now a platform whose strategic function is to entertain. Will critical and insightful programmes on cinema exist in the future? The ratings race and obsession with cost -effectiveness will not make this a likely scenario. Nevertheless, this type of programme will probably reappear on cable television, which has channels entirely devoted to the seventh art

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Hamery, Roxane. "Jean Painlevé (1902-1989) : un cinéaste au service de la science". Rennes 2, 2004. http://www.theses.fr/2004REN20016.

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La production et la longue carrière de Jean Painlevé, réalisateur de court métrage, documentariste associé aux domaines spécialisés du cinéma scientifique ou du film d'enseignement, demeurent, pour une large part, méconnues alors qu'il fut un fervent défenseur d'un cinéma populaire et intelligent, un membre important des institutions du septième art ainsi qu'une figure reconnue de l'avant-garde des années 20. C'est peut être cet éclectisme qui a jusqu'ici empêché de dresser un panorama cohérent de ses multiples activités et de saisir la personnalité de cet homme farouchement indépendant. Afin de réévaluer ce parcours cinématographique original et engagé, cette thèse a pour ambition de retracer l'œuvre de Jean Painlevé et d'étudier l'évolution esthétique de ses films dans le cadre d'une analyse contextuelle. Ce portrait contrasté se présente comme celui d'un artiste exigeant, autant dans la réalisation de ses films que dans ses combats militants
Jean Painlevé, short film director and documentarist, usually associated with the specialized genres of scientific cinema and educational film, has, throughout his long career, produced an impressive amount of work which remains for a large part scarcely known. He was however an ardent promoter of an instructive yet popular cinema, an eminent member of the institutions of the seven arts and a major pioneer of the avant-garde of the twenties. Up to now, this eclecticism may have impeded the attempts to draw up all these various activities into a coherent panorama and to understand the complex personality of the strongly independent man behind them. The aim of this thesis is the reassessment of this original cinematographic career; it will follow Painlevé's works step by step and will also examine his aesthetic evolution in a contextual analysis. This contrasted portrait fits a never satisfied artist involved with the same passion in the making of films or in militant struggles as well

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Peña, Javier (Peña López). "Analysis of the services as a performance factor in high-level volleyball and beach volleyball". Doctoral thesis, Universitat de Vic, 2013. http://hdl.handle.net/10803/128269.

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L’objectiu final d’aquesta Tesi és identificar aspectes crítics de la utilització del servei en el voleibol i voleibol de platja d’alt nivell. Per aconseguir-ho quatre estudis, emmarcats dintre de l’anàlisi del rendiment esportiu, es van dur a terme. Els resultats de les nostres investigacions mostren que el servei és una habilitat tècnica important en les disciplines del voleibol però no pot explicar per si mateixa el resultat d’un partit. No obstant això, sembla un element clau en la prevenció d’atacs contraris eficaços i el seu resultat està clarament influenciat per les habilitats executades en salt. Una execució reeixida del servei és una qüestió complexa, i té una component física, tècnica, estratègica i tàctica. Una correcta utilització d’aquesta habilitat tècnica és fonamental per desequilibrar el resultat d’un partit. Ara bé, altres aspectes han estat identificats també com a rellevants per tenir èxit en un partit de voleibol o voleibol de platja
The ultimate goal of this Dissertation was to identify critical aspects of the use of service in high-level volleyball and beach volleyball. To address this purpose four studies on different aspects of service performance, framed into the field of performance analysis, were conducted. The results of our investigation show that service is a very important skill in volleyball disciplines but it cannot explain by itself the result of a match. Nevertheless, it seems a key element in preventing an effective attack. Service behavior and its ability to impair the opponent’s game is clearly influenced by jump abilities. The successful execution of the service is a complex issue, and has a physical, technical, strategic and tactical component. Proper use of this technical skill is capital in making the result of a match uneven. However, some other aspects have been identified as relevant to success in a volleyball or beach volleyball match.

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Aguilar, Esteban Rudy, Zavalaga Jessica Guija, Reyna Marco Polanco i Huamanchumo Javier Rosales. "Calidad en el servicio en el sector cines en Lima". Master's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9580.

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La calidad de servicio es uno de los aspectos más relevantes para las organizaciones, sin embargo, no existe un método validado para la evaluación del mismo, de la misma manera no existen investigaciones referentes al modelo SERVQUAL mas allá de aplicaciones prácticas de carácter descriptivo. Esta investigación buscó validar el modelo, particularmente en el sector cines de Lima Metropolitano. Se ejecutó una encuesta a una muestra representativa de usuarios del servicio donde se obtuvo información referente a su percepción y expectativa, posteriormente se procedió a analizar las relaciones entre las dimensiones y la calidad del servicio mediante contraste de hipótesis para finalmente validar el modelo mediante la técnica de regresión lineal. La investigación aporta información sobre el servicio entregado en el sector cines en Lima Metropolitana y una descripción del resultado de manera cuantitativa, donde se brindó una calificación final del sector, que para fines aplicativos sirve de diagnóstico general, además ofrece una serie de conclusiones y recomendación practicas con respecto al sector para ser utilizadas por empresas que tengan un modelo de negocios que se adecue a los que han sido participes de la investigación
Quality of service is one of the most relevant aspects for the organizations, however, there's not a validated method for the evaluation of it, in the same way there aren't investigations referring to the SERVQUAL model beyond practical descriptive applications. This research sought to validate the model, particularly in the Metropolitan Lima cinemas sector. A survey was carried out on a representative sample of users of the service where information regarding their perception and expectation was obtained. Later, we proceeded to analyze the relationships between dimensions and service quality by contrasting hypotheses to finally validate the model using the technique of linear regression. The research provides information on the service delivered in the cinemas sector in Metropolitan Lima and a description of the result in a quantitative way, where a final qualification of the sector was provided, which for purposes of applications serves as general diagnosis, in addition offers a series of conclusions and recommendation practices with respect to the sector to be used by companies that have a business model that suits those who have been involved in the researchhave been involved in the research
Tesis

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Grando, Mattia. "Cambiamento organizzativo del processo dell' offerta di servizi informatici: il caso CINECA". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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La seguente tesi di laurea si sviluppa attorno ad un caso di cambiamento organizzativo, riferito in particolare ad una riprogettazione di un processo aziendale rivolta all’efficientamento delle attività ed alla riduzione degli sprechi. Tale intervento è stato attuato attraverso un progetto di reingegnerizzazione dei processi, avviato come parte integrante di un corso di formazione sui principi del Lean Thinking. Il percorso di cambiamento organizzativo considerato nel caso studio è stato intrapreso da Cineca, consorzio interuniversitario senza scopo di lucro le cui attività principali sono il supporto alla ricerca scientifica e la fornitura di servizi informatici gestionali alle università ed al MIUR. L’obiettivo di questa tesi di laurea è principalmente quello di descrivere ed analizzare il progetto di reingegnerizzazione di un processo organizzativo, mettendone successivamente in evidenza le modalità di svolgimento ed i risultati. Un ulteriore intento è quello di mostrare un esempio di applicazione dei principi del Lean Thinking al mondo dei servizi, mostrando le enormi potenzialità di questo approccio anche in contesti diversi da quelli manifatturieri. La struttura del lavoro è stata organizzata in due macro sezioni. La prima, di carattere teorico, è composta dai primi tre capitoli e definisce concetti e modelli che permetteranno di inquadrare ed analizzare il caso studio. In particolare si affrontano, sfruttando anche la letteratura di riferimento, tematiche quali il cambiamento organizzativo, la sua corretta gestione, il cambiamento radicale, il Business Process Reengineering, e l’utilizzo dei principi del Lean Thinking nel mondo dei servizi. La seconda, che si concretizza nel capitolo quattro, ha un carattere maggiormente pratico e si riferisce al progetto di reingegnerizzazione di un processo organizzativo, argomento su cui è incentrato questo elaborato ed attività a cui ho personalmente preso parte personalmente durante il mio tirocinio.

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Vidal, Thales Miguel Gaspar. "Tu não te moves de ti? sobre o bruto encontro com o envelhecimento". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19890.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The general purpose of this study is to carry out an interpretation of the film narrative of Olivier Assayas’s Clouds of Sils Maria, 2014, to discuss the potentiality of a conceptual articulation between the fields of Psychoanalysis, Gerontology and Arts in order to address the aging process from both subjective and social points of view. The specific objectives outlined are: 1) to reflect upon “the contribution of cinema to dealing with existential, social and political themes” (ROSA apud DUNKER & RODRIGUES, 2015, p. 12), and thereby highlight the function of fiction in the difficult and daily task of reinventing oneself; 2) to identify, in the analysis of the film, how it translates an enquiry and an answer about what aging is. From this perspective, to determine the elements of confrontation and defenses brought into play to question the spectator about this process and its double translation: subjective and social; 3) to problematize the alienating face implied in the adoption of the chronological criterion as a marker of entry into old age; 4) to contribute to the strengthening of an interdisciplinary perspective on the studies about the human aging. This work is justified as it seeks to address the issue posed by Messy (1999, p.14): "when does one get old outside of the social repertoire?". He does so by referring the focus of the reflection to the film protagonist’s drama, a 40-year-old woman who suddenly sees herself as old because someone else has offered her that image. In this drama, her defenses against the identification with the stigmatizing social images associated with old age are heavily featured. The methodology used was the interpretation of the film narrative taking concepts deployed in a bibliographic review that articulated the aforementioned fields as reading operators. As a result, the subjective effect produced by the brutal (MESSY, 1999) encounter with aging itself was identified and discussed, a position avoided by the protagonist of the film in question, who has always attributed a range of negative characteristics to old age, as if these were strange to her. From such reflection, I could conclude that there is a remarkable complexity in the subjective process of aging which is substantially increased in the excessively narcissistic contemporary societies
O objetivo geral deste estudo é empreender uma interpretação da narrativa fílmica de Clouds of Sils Maria (Acima das Nuvens), de Olivier Assayas, 2014, com o intuito de colocar em discussão a potência de uma articulação conceitual entre os campos Psicanálise, Gerontologia e Artes, para abordar o processo de envelhecimento do ponto de vista subjetivo e também social. Os objetivos específicos delineados são: 1) refletir sobre “a contribuição do cinema no trato de temas existenciais, sociais e políticos” (ROSA apud DUNKER & RODRIGUES, 2015, p. 12) e, desse modo, lançar luz à função da ficção na difícil e cotidiana tarefa de reinvenção de si mesmo; 2) identificar, na análise do filme, de que modo ele traduz uma indagação e uma resposta sobre o que é envelhecer. Nessa perspectiva, identificar os elementos de enfrentamento e defesas colocados em jogo para inquirir o expectador sobre esse processo e sua dupla tradução: subjetiva e social; 3) problematizar a face alienante implicada na adoção do critério cronológico como marcador da entrada na velhice; 4) contribuir para o fortalecimento de uma perspectiva interdisciplinar nos estudos sobre o envelhecimento humano. Este trabalho se justifica na medida em que procura enfrentar a questão lançada por Messy (1999, p. 14): “quando é que se fica velho fora do repertório social?”. Ele o faz remetendo o foco da reflexão para o drama da protagonista do filme, uma mulher de 40 anos que, de repente, se vê como velha porque outro alguém lhe ofereceu essa imagem. Nesse drama, aparece com força suas defesas contra a identificação com as estigmatizantes imagens sociais investidas na velhice. A metodologia utilizada foi a da interpretação da narrativa fílmica tomando como operadores de leitura conceitos mobilizados numa revisão bibliográfica que articulou os campos antes referidos. Como resultado, identificou-se e discutiu-se o efeito subjetivo produzido pelo brutal (MESSY, 1999) encontro com o próprio envelhecimento, posição evitada pela protagonista da película em questão, que sempre atribuiu à velhice uma gama de características negativas, como se essas lhe fossem estranhas. De tal reflexão, pude chegar à conclusão de que há uma complexidade marcante no processo subjetivo do envelhecimento que se recrudesce substancialmente nas sociedades contemporâneas, excessivamente narcísicas

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Mussi, Luciana Helena. "Reflexão sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente de morte e do desejo de vida". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12396.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This paper aims to reflect on Ingmar Bergman existential anguish towards aging before the imminent threat of death and the desire to live. The main question was: how to live under such a devastating anguish being, at the same time, aware of our finitude and of our desire to live? To probe these existence questions, The Bergman Island documentary, focusing on the films The Seventh Seal and Wild Strawbwerries, the Greek Goddess Demeter s path and her transformation forms and the philosopher Cicero s reflections on aging were used. Bergman and his films, dealt with in an enigmatic atmosphere, led this research to the existential anguish scenery built, woven and understood by means of feelings resulting from the documentary images, words and dialogs. Crossing the researcher s experience and feelings with the filmmaker s report on the Island of Farö, the composition of such anguish was created: the Imminent Threat of Death and the Desire to Live as events to make us search understanding of the enigma of life and death. However, on the way we came across a God whose word silences, as God s true Silence. The One who repudiates Finitude as Awareness of Death. The Seventh Seal faithfully portraits the silence of such God in the face of the evil as an unquestionable and frightening event. If, at old age, the probability of imminent death is higher and the awareness of finitude is even higher, in Wild Strawberries we come to face the perspective of the end itself. Recollecting the character and Bergman, we come across the Travel into Solitary Old Age, in a time that seems to be over, through the trails of Old Bergman Existential Memories. The Existential Trialogue within the Gap of Time described a fictional meeting among Bergman, the filmmaker, Cicero, the thinker and the researcher. Aiming at getting past time effects, defeating sovereignty of the years that separate the three ones involved through gathering of the arts cinema, philosophy and science considering all as understanding and reflection on what death/life means at aging. Cinema, art that brings closer to one s life, that portraits reality and life movement, referring to our own experiences, life vivid recalls, deep memory excavations, through a permanent trip between youth and old age. Biographies crossing one another in the line of time, oscillating between death pains and life setbacks
Este trabalho tem como objetivo refletir sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente da morte e do desejo de vida. A pergunta central foi: como viver com esta arrasadora angústia quando nos sabemos finitos e, ao mesmo tempo, sedentos de vida? Para pensar estas questões da existência, foram utilizados o documentário A Ilha de Bergman, focando os filmes O Sétimo Selo e Morangos Silvestres, a trajetória da Deusa Grega Deméter e seu caminho de transformação e as reflexões do filósofo Cícero sobre o envelhecer. Bergman e seus filmes envoltos numa atmosfera enigmática, conduziram esta pesquisa ao cenário da angústia existencial construída, tecida e entendida por sensações provocadas por imagens, palavras e diálogos do documentário. Cruzando impressões e experiências da pesquisadora com o relato do cineasta na Ilha de Farö, nasceu a composição desta angústia: a Ameaça Imimente de Morte e do Desejo de Vida como acontecimentos que nos levam à busca por conhecimento do enigma de vida e morte. Mas nesta caminhada, encontramos um Deus que se cala, num verdadeiro Silêncio de Deus. Aquele que denuncia a Finitude como Consciência da Morte. O Sétimo Selo retrata fielmente esse Deus que se omite e cede espaço à maldita como fato indiscutível e apavorante. Se na velhice a probabilidade de morte iminente é maior e a consciência de finitude ainda mais, chegamos no enfrentamento da perspectiva do próprio fim em Morangos Silvestres. No rememorar do personagem e de Bergman, nos deparamos com a Viagem pela Velhice Solitária, num tempo que parece se esgotar, na trilha das Lembranças Existencias do Velho Bergman. O Triálogo Existencial na Brecha do Tempo descreveu um encontro ficcional entre Bergman, o cineasta, Cícero, o pensador e a pesquisadora. Teve por propósito driblar o efeito do tempo, anular a soberania dos anos que separam os três envolvidos através do encontro das artes cinema, filosofia e ciência tudo pela compreensão e reflexão do que significam morte/vida no envelhecer. Cinema, arte que aproxima ao viver de cada um, que retrata a realidade e o movimento da vida, nos remetendo às nossas próprias experiências, lembranças das fases vividas, escavações profundas na memória, numa viagem constante entre juventude e velhice. Biografias que se cruzam na linha do tempo oscilando entre as dores da morte e os reveses da vida

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Robert, Marc-André. "L'Office du film du Québec : vitrine de l'État dans la Cité : la communication des services de l'administration publique québécoise par le cinéma, 1961-1976". Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/66294.

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Entre 1961 et 1976, l’Office du film du Québec (OFQ) est l’organisme d’État responsable de la production, de l’achat et de la distribution des moyens cinématographiques de l’ensemble des ministères et services de l’administration publique québécoise. Nouvelle incarnation du Service de Ciné-photographie fondé en 1940, l’OFQ s’inscrit alors en continuité et en rupture avec les premières initiatives en la matière, lesquelles remontent aussi loin que les années 1920. Ces films, des courts-métrages à mi-chemin entre le documentaire et le film pédagogique, servent à la communication des activités et services de l’État envers ses citoyens, et à préserver une trace visuelle des actualités gouvernementales du Québec. La présente thèse vise à analyser les contextes politique et administratif ayant motivé le développement d’une telle stratégie de communication des services de l’administration publique québécoise de façon à comprendre comment et à quelles fins furent gérés et administrés ces activités cinématographiques. Elle révèle l’importance et la nécessité du rôle occupé par l’Office du film du Québec en pleine Révolution tranquille, rôle soutenu et défendu par des fonctionnaires, et bien souvent en dépit d’un soutien politique : celui d’agent de liaison entre l’appareil administratif de l’État québécois et la société civile.
Between 1961 and 1976, the Quebec Film Board (OFQ) was the government agency responsible for the production, purchase and distribution of cinematographic resources for all departments and services of the Québec administration. A new incarnation of the Cine-Photography Service founded in 1940, the OFQ is then in continuity and in rupture with the first initiatives in the field, which go back as far as the 1920s. These films, short films halfway between the documentary and the educational film, are used for communication of the activities and services of the state towards its citizens, and to preserve a visual trace of the governmental news of Quebec. The purpose of this thesis is to analyze the political and administrative contexts that motivated the development of such a communication strategy for Québec government services in order to understand how and for what purposes these cinematographic activities were managed and administered. It reveals the importance and necessity of the role played by the Quebec Film Board in the midst of the Quiet Revolution, arole supported and defended by public servants, and often in spite of political support: that of a liaison officer between the administrative apparatus of the Quebec State and the entire civil society.

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Bellucci, Lucia. "Le droit promotionnel et les aides d'État à la production cinématographique en Italie et en France, à la lumière de la construction européenne et des négociations sur le commerce international des services". Paris 1, 2004. http://www.theses.fr/2004PA010016.

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Les aides d'Etat à la production cinématographique, françaises et italiennes, peuvent être considérées comme des mesures ou des techniques promotionnelles. Elles sont les plus proches au monde, bien que, si on les analyse à la lumière des libertés de l'art et d'expression et par une approche historique (depuis 1920), ils présentent des différences de fond. Cette étude montre leur importance en analysant aussi les phénomènes de la censure (préventive et économique), de l'autocensure et de la concentration monopoliste. D'une part, la construction européenne pousse les Etats à modifier ces aides pour les conformer à l'orientation communautaire, d'autre part, dans les négociations sur le commerce international des services, l'Union se fait marraine d'un droit promotionnel dans le domaine du cinéma. La notion de diversité culturelle est devenue l'interprétation communautaire de celle d'exception culturelle défendue par certains pays, dont la France.

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Cummins, Isabelle. "Le Moulin à images de Robert Lepage et Ex machina : le traitement des images au service de l’histoire". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29406/29406.pdf.

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Pérez, Pérez Kevin Jefferson, i Palomino Ingrid Katherine Vargas. "Calidad de servicio en la empresa de entretenimiento Cineplanet, de la ciudad de Chiclayo, 2016". Bachelor's thesis, Universidad Católica Santo Toribio de Mogrovejo, 2017. http://tesis.usat.edu.pe/handle/usat/1476.

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Hoy en día el cine, en la ciudad de Chiclayo, se ha vuelto un centro de entretenimiento por el cual las personas han ido implementando en sus vidas como parte de su ocio o recreación tanto personal y familiar, esto ha generado que la empresa Cineplanet cumpla con diferentes requisitos donde cuente con un lugar agradable y brinde una atención de calidad porque los clientes que van a este establecimiento lo realizan con el fin de relajarse y/o desestresarse de la rutina laboral u oficio que realizan a diario. Por tal razón, esta investigación tuvo como objetivo determinar el nivel de la calidad de servicio que se ofrece en la empresa de entretenimiento Cineplanet de la ciudad de Chiclayo. El tipo de investigación fue descriptivo (cuantitativo). El diseño que se utilizó fue no experimental de tipo transversal. Los datos se procesaron en el programa “Excel 2013”, donde se usaron tablas y gráficos estadísticos, los cuales servirán para comprobar correctamente los resultados, luego se realizará el análisis y su respectiva interpretación. La muestra estuvo conformada por 252 clientes que asisten con una frecuencia a dicha empresa, a quienes se les aplicó una encuesta.
Tesis

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Mendoza, Ascurra Alicia Alejandra. "Elementos atmosféricos y calidad del servicio como determinantes de la satisfacción del consumidor de restaurantes con temática de cine en Lima Metropolitana". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655190.

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El marketing experiencial ha sido y sigue siendo importante para que las marcas logren que los clientes vivan experiencias inigualables. Por ello, estas se preocupan cada día en implementar este tipo de estrategias en sus procesos y, de esa manera, los consumidores vivan experiencias en torno a los servicios y productos; con el objetivo de crear relaciones duraderas y vínculos emocionales entre marcas y clientes. De esta manera, las marcas que, hoy en día, se encuentran en la vanguardia de la implementación del marketing experiencial, son los restaurantes temáticos (cine, deporte, música, entre otros). Debido a que, se caracterizan por “trasladar” al cliente a otro espacio, a diferencia de un restaurante tradicional, gracias al servicio personalizado que brindan, y al tema y concepto que eligen poseer. En tal sentido, el presente estudio, engloba al marketing experiencial dentro de los restaurantes con temática de cine, en base a los elementos atmosféricos y calidad del servicio. Los cuales, han sido considerados como factores para determinar la satisfacción del cliente. Para el desarrollo, se han aplicado técnicas cuantitativas y cualitativas, las cuales han sido un gran apoyo para lograr los resultados del presente estudio.
Experiential marketing has been and continues to be important for brands to achieve that customers live unique experiences. For this reason, they are concerned every day to implement this type of strategies in their processes and, in this way, consumers live experiences around services and products; with the aim of creating lasting relationships and emotional ties between brands and customers. In this way, the brands that, today, are at the forefront of the implementation of experiential marketing, are the theme restaurants (cinema, sports, music, among others). Because they are characterized by “moving” the client to another space, unlike a traditional restaurant, thanks to the personalized service they provide, and the theme and concept they choose to possess. In this sense, this study encompasses experiential marketing within cinema-themed restaurants, based on atmospheric elements and quality of service. Which have been considered as factors to determine customer satisfaction. For development, quantitative and qualitative techniques have been applied, which have been a great support in achieving the results of this study.
Trabajo de investigación

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Armada, Ros Eduardo. "La satisfación del usuario como indicador de calidad en el Servicio Municipal de Deportes : percepción, análisis y evolución". Doctoral thesis, Universidad de Murcia, 2016. http://hdl.handle.net/10803/362931.

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Las investigaciones realizadas sobre la calidad de los servicios deportivos sirven de base a las estructuras organizativas para dar respuestas a las nuevas tendencias y necesidades deportivas de la población, procurando nuevos modelos de gestión que optimicen los recursos y orienten las actuaciones hacia la calidad (Gálvez y Morales Sánchez, 2010). Conocer la opinión que los usuarios tienen del servicio que reciben y las claves para fidelizar, suponen el primer paso para valorar la implementación de un sistema de calidad que permita prestar el mejor servicio a los ciudadanos con un “valor añadido”. Abordamos un estudio longitudinal donde los objetivos planteados se centran en la determinación del grado de satisfacción actual del usuario con los servicios deportivos municipales del Ayuntamiento de Cartagena, analizar la evolución de la satisfacción a lo largo del tiempo para actualizar los niveles de calidad que ofrecen estos servicios y aportar un caso práctico de gestión orientado a la calidad, que pueda servir al benchmarking de los futuros gestores deportivos públicos. Para realizar el estudio se administró un cuestionario elaborado en 1990 por un experto en Sociología con una validación posterior siguiendo metodologías aceptadas en la bibliográfica científica (Dunn, Bouffard & Rogers, 1999), mediante el índice de V de Aiken, a una muestra de 552 usuarios en el año 1991 y 677 usuarios en el año 2015. Los resultados obtenidos confirman que el valor medio de satisfacción percibida es alta. Constatamos que la valoración de la actividad realizada es ligeramente superior en la actualidad, aunque no se aprecian diferencias estadísticamente significativas con el ejercicio 1991. El análisis global de las dimensiones de la encuesta para el año 2015, nos lleva a considerar que todos los recursos del servicio deportivo municipal condicionan la calidad, aunque unos indican tener mayor peso que otros en la satisfacción que los ciudadanos perciben. Los usuarios otorgan en 2015 más importancia a las instalaciones y a las actividades que oferta el municipio. Sin embargo, el valor más importante de la organización en relación a la satisfacción percibida son las personas que prestan el servicio en ambos periodos de tiempo. En líneas generales todas las profesiones valoran como muy importante que las instalaciones municipales están bien atendidas en lo referido a mantenimiento, limpieza y material de la sala. El grado de satisfacción varía en todos los factores estudiados, estos datos van a procurar una toma de decisiones de mejora sobre los aspectos peor valorados por los usuarios y la aplicación de sistemas para afianzar la calidad, la satisfacción y la fidelización de los ciudadanos al servicio municipal de deportes.
The research on the quality of sports services provide a basis for organizational structures to give an answer to new tendencies and necessities regarding sports and the physical exercise of the population, procuring new management models that optimize resources and guide actions towards quality (Gálvez y Morales Sánchez, 2010, own translation). The first step in assessing the deployment of a quality system which insures the best service for citizens with “added value” is knowing the users' opinion regarding the received service and knowing the key to user fidelity. A longitudinal study will be conducted which can be useful for the benchmarking of future public sports managers. The objectives of this study will be determining the degree of present user satisfaction with communal sports services offered by the city council of Cartagena, analyzing the development of user satisfaction over time in order to update quality levels offered by those services and providing a practical example of management that is quality oriented. In order to carry out the study a questionnaire compiled by a sociology expert in 1990 with a later approval in accordance with methodologies accepted in the scientific bibliography (Dunn, Bouffard & Rogers, 1999), using Aiken's V statistic was distributed to a sample of 552 users in 1991 and a sample of 677 in 2015. The results confirmed that the average value of satisfaction is high. It can be observed that the assessment of the performed activity is slightly higher at present even though no statistically significant differences with the exercise of 1991 can be perceived. The global analysis of the dimensions of the survey for 2015 shows that all resources of the communal sports services determine the quality although some are more important that others concerning the satisfaction of the citizens. In 2015 the users give more importance to the facilities and activities offered by the municipality. However, according to user satisfaction, the most important part of the organization at both times are the people who provide the service. In general, people of all professions deem very important that the communal facilities are well cared for regarding maintenance, cleaning and materials. The degree of satisfaction varies in all evaluated factors. The data will ensure that decisions will be made to enhance those aspects that were rated the worst by the users and that systems will be applied to secure quality, satisfaction and citizen loyalty to the communal sports services.

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Fernández, Jara Laura. "El documental periodístico como género garante de la función de servicio público de la comunicación. Estudio de los programas Documentos TV y En Portada de la 2 de Televisión Española". Doctoral thesis, Universidad de Murcia, 2013. http://hdl.handle.net/10803/123213.

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Esta tesis doctoral es un estudio sobre la televisión de servicio público en España surgida a partir de un nuevo contexto televisivo que emerge en 2010. La aprobación de la Ley 7/2010, General de la Comunicación Audiovisual, que elimina cualquier obligación de prestación de servicio público por parte de las cadenas privadas y la multiplicación y fragmentación de la oferta de contenidos que supone la consolidación de la Televisión Digital Terrestre han generado un nuevo ecosistema televisivo en el que destaca la programación de La 2. Su contribución a la salvaguarda del servicio público se desarrolla a través de diferentes formatos, sin embargo existe un género informativo, el documental periodístico, que se torna garante del cumplimiento de las exigencias legales que rigen la obligatoriedad del servicio público de la comunicación. Dicho género informativo audiovisual se emite, principalmente, a través de los programas Documentos TV y En Portada. Objetivos 1. Caracterizar el género informativo documental periodístico. 2. Vincular el género documental periodístico con el servicio público de la comunicación. 3. Analizar la programación de La 2 de TVE en el contexto de la TDT nacional en abierto. Metodología La tesis doctoral que presentamos estudia, en diferentes fases, cinco temporadas televisivas. Llamamos Investigación 1 al análisis de los documentales emitidos entre 2007 y 2012; Investigación 2 a los concentrados en la temporada 2011-2012 e Investigación 3 al estudio de seis casos de la temporada 2011-2012. En todas las fases, el análisis se centra en los programas de documental informativo Documentos TV y En Portada de La 2. En lo que respecta a la metodología elegida para llevar a cabo esta tesis doctoral destacamos varios métodos a partir de los cuales mediremos diferentes aspectos del objeto de estudio. Por un lado, hemos escogido metodologías estadísticas como el sondeo y el análisis de contenido. Por otro lado, desarrollaremos metodologías no estadísticas como el análisis exploratorio y la entrevista en profundidad. La herramienta de trabajo para el análisis de los documentales ha sido el programa estadístico SPSS. Conclusiones La conclusión principal de esta investigación es la siguiente: “De los resultados extraídos de esta investigación, concluimos que el documental periodístico sí es un género garante de la función de servicio público de la comunicación ya que cumple la mayoría de las exigencias recogidas en la normativa”. A partir de las conclusiones aportadas, proponemos una definición propia: “El documental periodístico o informativo es un género audiovisual informativo propio de una edad televisiva distinta a la actual, pues nace en la Paleotelevisión y mantiene sus características fundacionales intactas. A través de un discurso argumentativo, promueve la defensa de los valores sociales que se identifican con el servicio público de la comunicación. Su duración es superior a la de otros géneros informativos de la televisión, situándose entre los 40 y los 60 minutos, de media. Consiste en la grabación de asuntos de actualidad –ya sea inmediata o permanente-, profundizando en su análisis así como en la clarificación de las causas y consecuencias de los hechos que narra. Como norma general, incluye la interpretación crítica o polémica respecto al tema que trata, ya que en muchos casos se aborda una situación de injusticia social, una idea que lo vincula al cumplimiento del servicio público de la comunicación. La variedad de escenarios de grabación y la diversidad de fuentes consultadas, en general contradictorias unas con otras, otorga a este género el estatus de objetividad que, por otra parte, se le presupone”
This doctoral thesis is a study on the television of public service in Spain arisen from a new television context that emerged in 2010. The approval of the Law 7/2010, General of the Audio-visual Communication, eliminates any obligation of public service on the part of the private chains as well as the multiplication and fragmentation of the offer of contents that supposes the consolidation of the Digital Terrestrial Television; have generated a new television ecosystem in which the programming of La 2 stands out. Its contribution to the safeguard of the public service develops across different formats. Nevertheless there exists an informative genre, the journalistic documentary, which returns guarantor of the fulfillment of the legal requirements that govern the obligatory of the public service of the communication. The above mentioned informative audio-visual genre is principally issued across programs as Documentos TV and En Portada. Objectives 1. Characterize the genre: journalistic documentary . 2. Linking documentary journalism to public service communication. 3. Analyze scheduling TVE-2 in the context of National Television Digital. Methodology The dissertation studies five television seasons at different stages:  Research 1 focuses on the documentary analysis issued between 2007 and 2012.  Investigation 2 concentrates on the 2011-2012 season.  Research 3 studies six cases from the 2011-2012 season. At all stages, the analysis focuses on factuals documentary Documentos TV and En Portada from La 2. The methodology chosen to accomplish these objectives include various methods used to measure different aspects of the object of study. On the one hand, we have chosen statistical methodologies such as the probing and content analysis. On the other, non-statistical methodologies such as the exploratory analysis and in-depth interview were developed. The tool for the analysis of the documentary has been the program SPSS. Conclusions The main conclusion of this research is as follows: "Drawing on the results from this study, we conclude that the documentary itself is a genre of journalism guarantor of public service function of communication as it meets most of the requirements contained in the regulations ". As such, we propose a self-definition: "The journalistic or informative documentary is an informative audiovisual genre own television age different from today. It was born in paleotelevision and its foundational characteristics remains intact. Through argumentative discourse, it promotes the defense of social values that are identified with public service communication. Its duration is superior to other television news genres, ranging between 40 and 60 minutes, on average. Recording consists of current affairs-either immediately or permanently, deepening its analysis and the clarification of the causes and consequences of the events it narrates. As a general rule, it includes the critical interpretation or controversy regarding the subject matter, as in many cases it deals with a situation of social injustice, an idea that links the fulfillment of public service communication. The variety of scenarios and diversity of recording sources, generally contradictory to each other, gives objectivity to the genus status an aspect which is generally assumed"

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Blistène, Pauline. "Voir et faire voir le secret de l'État : fonctions et enjeux de la fiction d’espionnage contemporaine". Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H219.

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Quelle est la valeur politique, morale et philosophique des fictions dites « d’espionnage » ? Nous examinons cette question à partir d’une méthodologie innovante mêlant analyse de séries télévisées contemporaines (Homeland, Le Bureau des Légendes) et enquêtes de terrain auprès des acteurs du renseignement (CIA, DGSE) et du divertissement (showrunners, scénaristes). La thèse que nous défendons est celle d’une modification du statut ontologique et épistémique des films ou séries d’espionnage en raison de l’engagement de véritables espions dans leur fabrication. L’importance politique et philosophique des fictions d’espionnage se manifeste par l’impact de ces fictions sur la réalité politique et sociale : le « réalisme » des fictions d’espionnage que nous définissons ici s’éloigne des conceptions communes de ressemblance avec le réel pour y substituer une approche qui met l’agentivité au cœur de l’analyse. Il ne s’agit pas de décréter l’effacement de la frontière entre fait et fiction mais au contraire d’en réaffirmer l’importance, comme hypothèse de production et de réception des œuvres. Dans un contexte où la demande d’information concernant les activités clandestines de l’État ne cesse de croître, les interactions entre professionnels du renseignement et du divertissement permettent aux premiers de mettre en scène leur propre dévoilement sans pour autant révéler leurs activités réelles. Ainsi, loin de concourir à l’abolition de la frontière du secret, de telles pratiques opèrent un déplacement de cette dernière : une reconduite du régime du secret sous l’apparence d’une mise en transparence. Le secret de l’État n’est jamais dévoilé, il est toujours signifié
What is the political, moral and philosophical value of “spy fiction”? This dissertation examines this question using an innovative methodology that combines an analysis of contemporary television series (Homeland, Le Bureau des Légendes) and interviews with intelligence practitioners (CIA, DGSE) along with entertainment professionals (showrunners, screenwriters). My thesis is that there is a change in the ontological and epistemic status of spy films and TV series due to the involvement of real spies in their creation. The political and philosophical importance of spy fiction manifests itself in the impact of spy fiction on the political and social reality: the “realism” of spy fiction that I define here departs from common conceptions of correspondence to reality and replaces it with an approach that locates agency at the heart of the analysis. This approach does not stipulate the blurring of fact and fiction, but instead reaffirms its importance as a hypothesis for the production and reception of cultural artifacts. In a context where the demand for information concerning clandestine activities of the state keeps growing, the interactions between intelligence and entertainment professionals allow the former to stage their own disclosure without revealing their real activities. Far from contributing to the abolition of the frontier of secrecy, such practices contribute to its displacement, thus allowing a renewal of secrecy under the appearance of transparency. State secrets are never revealed but only signified

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Barrière, Virginie. "Gestion des bio-agresseurs et réduction des pesticides en culture de laitue sous abris froids : apports croisés d’expérimentations factorielles et systémiques". Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG0668/document.

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La réduction de la dépendance aux pesticides des systèmes de culture de laitue constitue un objectif à relativement court terme, partagé par les pouvoirs publics et les acteurs de la filière de production. Atteindre cet objectif suppose de disposer de moyens techniques permettant de substituer aux pesticides d’autres méthodes limitant les dégâts de bio-agresseurs de la laitue.Ces techniques peuvent être destinées à minimiser l’entrée d’inoculum dans les parcelles, à limiter la propagation des bio-agresseurs, à diminuer la sensibilité des plantes, ou à éradiquer les bio-agresseurs présents sur les cultures. L’évolution des systèmes de culture repose sur la démonstration de l’efficacité, en termes de protection des plantes, de ces techniques alternatives aux pesticides lorsqu’elles sont intégrées et combinées dans les itinéraires techniques. Elle dépend aussi de l’impact socio-économique et environnemental des itinéraires techniques alternatifs, dans un contexte commercial et réglementaire exigeant. L’objet de cette thèse a été de développer des stratégies alternatives de gestion des bio-agresseurs de la laitue d’hiver cultivée sous abri froid,plus économes en pesticides, et d’évaluer leurs performances agronomiques, économiques et environnementales,garantes de la durabilité des systèmes de production.Sur la base des techniques déjà disponibles, deux stratégies alternatives, nommées stratégie intermédiaire et stratégie bas-intrant ont été conçues, et testées dans deux exploitations agricoles et un domaine expérimental de l’INRA pendant deux hivers, en comparaison avec une stratégie conventionnelle, représentative des pratiques actuelles. Les stratégies intermédiaire et bas-intrant ont permis de réduire de 32% et 48% l’usage des pesticides, respectivement, et ont été suffisamment efficaces pour obtenir une qualité visuelle et des rendements équivalents à la stratégie conventionnelle. Le bénéfice environnemental de leur mise en oeuvre a également été démontré. La mise en place de ces stratégies a cependant entrainé un surcoût de production,essentiellement lié à la lutte biologique, d’environ 10 à 13%. Parallèlement, deux orientations techniques originales, dont l’efficacité n’était pas caractérisée, ont été explorées. Une première série d’essais expérimentaux a porté sur l’influence du génotype de l’hôte et de l’environnement de la plante sur sa sensibilité à deux champignons pathogènes d’importance majeure, Botrytis cinerea et Sclerotinia sclerotiorum. Il a été montré que le choix d’un génotype moins sensible couplé à une optimisation du rapport fructose : saccharose de la plante diminuait les symptômes observés après inoculation. Une deuxième démarche expérimentale, portant sur la lutte biologique contre le puceron Nasonovia ribisnigri, a révélé l’incapacité de parasitoïdes du genre Aphidius à contrôler les pucerons en fin de culture, lorsque la structure du couvert végétal devient trop complexe.En plus d’inscrire ces travaux de recherche dans un processus d’amélioration continue de l’efficacité et des performances des stratégies alternatives aux pesticides, la démarche scientifique utilisée, articulant approche analytique et approche intégrative, a permis d’étudier des techniques ayant potentiellement un impact sur plusieurs bio-agresseurs, telles que la réduction de la fertilisation azotée ou l’optimisation de l’espacement entre les laitues, qui pourraient permettre une meilleure gestion des pathogènes responsables de la pourriture du collet et des pucerons
The reduction of pesticide reliance in lettuce cropping systems is a short term objective sharedby public authorities and by the stakeholders of lettuce market. Reaching this goal implies thesubstitution of pesticides by others techniques which may limit pest and pathogen damage. Thesetechniques can be intended to mitigate pest and pathogen invasion or propagation, to increaseplant defenses or to remove pests and pathogens from the crop. The improvement of currentcropping systems relies on i) the demonstration of the ability of alternative techniques to managediseases and pests when they are combined and integrated during the crop cycle; ii) theassessment of the socio-economic and environmental impacts of alternative strategies in a stringentcommercial and regulatory context. The objective of this thesis was to design alternativestrategies for pest and pathogen management of lettuce grown in winter under shelter, with fewerpesticide applications, and to assess their agronomic, economic and environmental performancesso as to ensure the sustainability of production.Based on currently available techniques, two alternative strategies, called intermediate andlow-input, were designed, and tested in two farms and an INRA experimental station duringtwo winters and compared to a conventional strategy representing current practices. The alternativestrategies enabled to reduce pesticide applications by 32% and 48% respectively. Theywere efficient enough to obtain similar yield and quality as compared to the conventional strategy.The environmental benefits of their implementation were also demonstrated. However, thesestrategies required a 10-13% extra production costs, almost exclusively due to biological controlproducts.In parallel, two original technical orientations, which efficacy had not been previously described,were examined. In a first set of experiments, the impact of lettuce genotype and growthconditions on plant susceptibility to two major pathogens, Botrytis cinerea and Sclerotinia sclerotiorum,was investigated. The use of a genotype displaying low susceptibility to these fungi,associated with an optimization of the ratio of fructose : sucrose in plants, appeared to reducethe symptoms after inoculation. A second experimental approach, dealing with biological controlagainst the aphid Nasonovia ribisnigri, highlighted the inability of Aphidius parasitoids tocontrol aphid populations at the end of the crop cycle, when the canopy structure becomes toocomplex.In addition to a contribution to cropping systems improvement, the scientific method used,combining analytical and integrative approaches enabled us to highlight the effect of techniquesacting on several pests and/or pathogens, such as the reduction of nitrogen fertilization or theoptimization of plant spacing, which could improve the management of fungi causing basal rotas well as aphids

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Fagelson, William Friedman Abzug Robert H. Schatz Thomas. ""Nervous out of the service" 1940s American cinema, World War II veteran readjustment, and postwar masculinity /". 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3143740.

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Fagelson, William Friedman. ""Nervous out of the service" : 1940s American cinema, World War II veteran readjustment, and postwar masculinity". 2004. http://hdl.handle.net/2152/12768.

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Le, Tien Thanh, i 黎進成. "The relationship between service quality, customer satisfaction and customer loyalty:A case study of movie theatre and cinema in Vietnam". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/9pd88q.

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碩士
國立高雄應用科技大學
製造與管理外國學生碩士專班
102
In the recent open and developing years, there are many opportunities emerge and come with much different ways to create and manage a successful, expendable model business in Vietnam. One of those ways which is broadly considered as an effective model is the cinema and movie theater industry. However, the young marketplace in Vietnam is still not easily predictable with many competitors from both domestic and foreign origins. Besides, it’s reported that a very great amount of attention and interest have come into the industry recently. In order to win the battle and accomplish a successful cinema chain system, managers and investors should focus in some important foundation constructs. There are not many research and study that compromise the secrets behind a long-term successful scheme for cinema and movie theaters. For those reasons, this research determines to uncover the factors and their vital roles in the triumph of a successful cinema chain system. This research tries to investigate three considered important construct (service quality, customer satisfaction and customer loyalty) based on observation and survey method. These constructs is suspected to have essential parts to play in the progress of making a long-term successful cinemas and movie theaters. To gather the data needed for research, a total of 243 surveys are contingent mailed to customers of some of the principal cinema brands in Vietnam marketplace (CGV Cinema, Lotte Cinema, Galaxy Cinema and so on). The result outcome presents the influencing positive relationship among three fractions and demonstrates that the service quality and customer satisfaction are significantly associated with customer loyalty.

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36

Wan-ChenWu i 吳宛真. "Adopting Cultural Experiential Marketing on Service Design and Planning of Local Cinema –A Case Study of Chen-Men Theater". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/6r2j92.

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碩士
國立成功大學
工業設計學系碩博士班
100
As the worldwide economic shifts from manufacturing orientation to knowledge and service orientation, the scope of innovation has been broaden to adapt to a variety of market demand. There have been significant changes in the focus of innovation. Enterprises begin to innovate by emphasizing customer experiences, rather that the product or service itself. Besides, the Cultural and Creative Industry has been considered to replace IT industry as the new engine of economic growth. Taiwan government has been actively supporting various cultural and creative activities and affairs. In Taiwan, the film industry is one of the Cultural and Creative Industry, which are encountered operational difficulties because of the changing policy that Taiwan joined the WTO in 2002. Hence, the import of cinema complex and the changing consumption habits also bring the enormous effect to exhibition part of local film industry. In Taiwan, Cultural and Creative Industries and Tourism Industry have a close relationship. And cultural tourism needs to consider “experience” in the future. Hence, this study employs case study method and takes the Chen-Men Theater, which has been established since 1950, as the target in this study. We adopting “Cultural Experiential Marketing (incorporating tourism industry element into Schmitt (1999)’s Experiential Marketing framework)” to explore the service design principle of local cinemas. There are four main empirical steps of this study: (1) This study use questionnaire survey to understanding the exiting service of the Chen-Men Theater. (2) This study selected the interviewees from Chen-Men Theater consumers through the involvement survey; these interviewee were then interviewed through ZMET (Zaltman Metaphor Elicitation Technique) and open-question design. (3)The feelings about Chen-Men Theater of the interviewees and their opinions about the services provided by Chen-Men Theater were then summarized through a framework proposed in this study – the Cultural Experiential Marketing Grid. (4) Research findings were proposed based on above results. Followings are conclusions of this study. (1) The local cinema in Taiwan must abandon the current decision-making way of “by the intuition of manager”; (2) The local cinema in Taiwan must improve the current way of acquiring customer’s opinion by only using “text-based” method, such as questionnaire design; (3) The abstract factors of human, such as customer personal background, must be considered in developing the services of Cultural and Creative Industries.

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ZIH-YU, CHEN, i 陳姿妤. "The effect of Service Quality、Perceived Value and Customer Satisfaction on Repurchase Intentions–the case study of Blossom Cinema". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/nc6w2u.

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碩士
國立臺北商業大學
國際商務系碩士班
104
This thesis is to Blossom Cinema as the research object. Nowadays, the customers have many choices of cinemas and many methods to see movies. Therefore, to study the cinema service quality, the consumer perceived value and the customer satisfaction to influence in consumers choice or not.Expected the results can provide a reference to the operator of Blossom Cinema and for follow-up study.The study is base on the consumer questionnaire of Blossom Cinema, and the interviewee all were consumers of Blossom Cinema.The study used the method of convenience sampling and recovered 309 valid questionnaires. Empirical analysis by statistic software of IBM SPSS Statistics 20.0 and Amos 21.0 for this research. The result are summarized as follows： 1.Service quality of the theater has a significant positive impact on consumers perceive valueand customer satisfaction. 2.Consumers perceive value has a significant positive impact on customer satisfaction and repurchase intentions. 3.Customer satisfaction has a significant positive impact on repurchase intentions. 4.Consumers perceive value does not have an impact on repurchase intentions.

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LI, SHIH-CIAN, i 李世乾. "Applying Kano two-dimensional model and IPA analysis to explore the cinema’s service quality- A case study of Vieshow Cinemas Taipei Hsin Yi". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/v55w8j.

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碩士
聖約翰科技大學
工業工程與管理系碩士班
102
The main purpose of this research is using Kano’s two-dimensional quality model and the importance-performance analysis (IPA) to evaluate the service quality of Vieshow Cinemas Taipei Hsin-Yi. Via a questionnaire survey, this study found that there existed a significant difference between the expected quality and the perceived quality of the customers of Vieshow Cinemas Taipei Hsin Yi. And, the service quality elements were divided into four dimensions: “Convenience benefits dimension”, “Timely convenience dimension”, “Professional reliable dimension”, and “Business strategy dimension”. The various selection factors of the "Business strategy dimension" had significant differences in customer’s satisfaction. Such as, “Having good lighting effects” got a higher satisfaction than “Price reasonable”. In the characteristics of consumption, people who using the Citi Privileges® Card to buy the movic ticket were mainly in the age of 31-35 years old, or a business owner. Generally, the customer didn’t like to get the movie ticket via group booking. Under Kano two-dimensional quality model, “according customer’s individual needs to provide different care” was an attractive quality. In the refined Kano model, “providing a convenience ticket booking procedure” was a high value added quality. Via IPA, “in a sudden emergency situation, can give an immediate services” located in the “opportunity quadrant”. The results of this study may provide a good reference for the cinemas to improve the service quality.

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Bolduc, Anne-Catherine. "Le métier de premier assistant réalisateur au Québec contemporain". Thèse, 2015. http://hdl.handle.net/1866/13691.

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Ce mémoire en Études cinématographiques en est un de recherche-création et porte sur le métier de premier assistant réalisateur au Québec. Le mémoire est accompagné d’un film documentaire (HD 27 min.) réalisé et monté par Anne-Catherine Bolduc. Le matériel de tournage des entrevues (20 heures) constitue le document de référence ayant permis le montage synthèse des entretiens menés auprès des assistants réalisateurs ainsi que la présente étude sur ce métier méconnu. Filmé en 2014, il présente le point de vue de dix professionnels sur le métier de premier assistant à la réalisation. Les deux documents décrivent et analysent en quoi consiste ce métier, en évaluant les fonctions ainsi que les impacts créatifs et organisationnels sur le projet. Ils répondent à deux questions principales, soit qu’est-ce que le travail d’un premier assistant réalisateur au Québec aujourd’hui et a-t-il une influence créative sur la production télévisuelle ou cinématographique.
This memoir in Film studies has been written in a context of research-creation and is about the first assistant director’s work in Quebec. A documentary (HD 27 min.) directed and edited by Anne-Catherine Bolduc goes along the master. The interviews footage (20 hours) is the reference for the executive summary of the documentary’s interviews and for this study of the first assistant director’s unknown job. Filmed in 2014, the documentary presents the viewpoint of ten professionals about the first assistant director’s job. The two documents describe and analyze the first assistant director’s job in evaluating the functions as well as the organizational and creative impacts on the realization. They address two main questions, namely what is the first assistant director’s job currently in Quebec and do the first assistant director have a creative influence on the film or television production.

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Lin, Chun-Chih, i 林俊智. "A Study on Service Quality, Customer Satisfaction and Customer Loyalty – An Example of Vie Show Cinemas". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/95323132537539151221.

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CHEN, YU-YEN, i 陳宥諺. "A Study of Value-Added Mobile Services for Film Festival-Using 2014 KFF Cloud Cinema as an example". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6bsgs6.

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碩士
世新大學
廣播電視電影學研究所(含碩專班)
105
Nowadays people can watch movies in different devices because of technology advancement and smartphone popularity. This phenomenon also brings some opportunities to film or video industries to provide video on different platforms. New business models become an important issue. Unlike other film festivals, Kaohsiung Film Festival (KFF) not only provided movies in theaters, but also launched the “KFF Cloud Cinema” app (both iOS & Android systems) in 2014. In this app, pay-per-view (PPV) & video on demand (VOD) services was provided to the audiences. This app attracted over 22,000 downloads and the entries received over 500,000 clicks. KFF 2014 not only created the highest participation rate in Taiwan’s film festival history, but also set a new model for Taiwan’s film festival development. This qualitative study was designed to investigate the present and future feasible business models and user acceptance for short-film-oriented film festivals apps. KFF Cloud Cinema app was adopted as an example. Relevant roles like the festival curator, contestants and audiences were interviewed to gather research data. Total nine respondents from the above three roles were interviewed, and in-depth interview was adopted. A semi-structured interview guide was developed based on the cognitive attributes of innovation, innovativeness of adopters, and priorities of innovation acceptance in the diffusion of innovations theory. The results shown that: (a) KFF Cloud Cinema was designed to adopt a business model of lower profit for promoting short films and encouraging users to pay and watch those films online; (b) instead of the profit sharing model commonly practiced by streaming video platforms, KFF Cloud Cinema charged the broadcast fee to license movie broadcast during the festival period, which is the same licensing model as in traditional film festivals; and (c) both the KFF Cloud Cinema users and KFF entrants had high acceptance of this innovation featuring a complement between the virtual film festival and the physical film festival. Keywords：Kaohsiung Film Festival, KFF Cloud Cinema APP, Diffusion of Innovations Theory, Virtual Film Festival

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42

林雅慧. "The impact of service quality perception on Brand Equity in O2O commerce Mode - VISHOW CINEMAS as an example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8yp98j.

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碩士
國立彰化師範大學
企業管理學系行銷與流通管理碩士班
104
Owing to the rapid development of Internet, people's lifestyle produces a new revolution. The Internet is an important conduit of information propagation; furthermore, it makes turbulence in our life, cultures and the way of thinking. With the rising awareness of consumers and emerging patterns of business opportunities, the service quality of e-commerce has become a significant factor for customer. In addition, It attached important to the service quality of e-commerce cause of a great potential for development. Hence of the change in Consumer purchase behavior, the retail market is in a transitional period of consolidation situation. In order to establish e-commerce environment (EC3.0), the government also actively implemented the development of e-commerce value chain in cloud-based, action-oriented, and innovation-oriented. Therefore, electronics Business of Taiwan in the goods and services has been more competitive.

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cheng, Cheng yu, i 鄭丞淯. "Consumer's characteristic and service quality to the research of cultural creativity industry consumer's satisfaction－take wonderful cinemas as an example". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/96625368004684075539.

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碩士
亞洲大學
國際企業學系碩士班
96
A procedure is this thesis develops of observe the last few years Taiwanese consumption market, the rise of cultural creativity industry, is hard neglect of emerging forces. And from amused, published, personality store, life type, recreation tasty...etc. to see, can find rising trend appropriately. Cultural creativity industry is government and folks is greatly newly arisen industry directions in Taiwan of expansion in the last two years. Along with Taiwanese society industrialization, will turn of footstep, take into a week to rest a performance for 2 days, culture from life in taking out to leave out, become one of the industry of "can consume". The back in cultural creativity industry, this name, , how attract customer consumption, is the problem that have to consider, this research takes this as to study motive and try is tidied up an influence cultural creativity industry consumer's satisfaction by the consumer's characteristic, service quality theories, and match with the way of substantial evidence to identify, and put forth a main research purpose as follows: (1)inquire into the influence of the characteristic of consumer uponcultural creativity industry consumer's satisfaction (2)inquire into the influence of the service quality upon cultural creativity industry consumer's satisfaction. (3)inquire into that the consumer consumes quality and service quality in cultural creativity industry up to the consumer have definitely of influence. At research object's part, main inquisition of maternal is the ten thousand well-known generation blessing cinema of Taichung region is the object of this research, this research is to adopt a convenient sampling method, choose with ten thousand blessing cinemas of cultural creativity operator in Taichung of consumer be used as the object of the issuing of questionnaire to collect sample data through consuming related consumer in its movie theater, obtain related information, inquire into the relation between service quality and consumption satisfaction to identify the scholar's standpoint.The questionnaire totally issues 500 to be used as a research and aim at questionnaire data to carry on describing a covariance analysis, factor after its recall analytical, variation number analysis, regression analysis. Study a result part: (1)cultural creativity industry service quality has notable positive influence to consumer's satisfaction. (2)the cultural creativity industry consumer of different census taking variable has the difference of notable on the satisfaction. (3)the consumer is on cultural creativity industry consumption quality and the service quality to the consumer have definitely of influence.

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Zunino, Mario. "Quand le journal télévisé fait son cinéma : le cas du JT de TF1 : une mise en scène cinématographique au service de la marchandisation de l'information?" Mémoire, 2013. http://www.archipel.uqam.ca/5311/1/M12801.pdf.

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Le journal télévisé (JT) se servirait-il d'effets cinématographiques pour dramatiser certains faits? La course à l'audience souvent évoquée à partir du milieu des années 1980, en particulier depuis la privatisation de TF1, expliquerait-elle cette tendance? Sans pour autant prétendre que le JT relève de la fiction, nous émettons l'hypothèse qu'il existe une « information-cinéma » dans un but marchand. Par « information-cinéma », nous entendons une information que nous nous attendons à trouver dans une fiction mais pas dans une émission censée refléter la réalité. Notre recherche porte sur le JT de la 1ère chaîne française qui deviendra TF1 en 1975. Nous nous intéresserons plus spécialement à l'édition de 20 heures. Car, à ce jour, elle est à la fois la plus ancienne des éditions françaises et, à quelques rares périodes près, elle est la plus suivie tant en France qu'en Europe, toutes chaînes et toutes éditions confondues. Cette recherche a des facettes qui s'entrecroisent : télévision, JT, mise en scène cinématographique, marchandisation. Ceci ajouté à notre propre expérience, riche et diversifiée, notre approche se veut multidisciplinaire et exploratoire. Elle est aussi historique : une remontée dans le temps a été nécessaire pour vérifier si l'information-cinéma n'existait pas déjà au cours des années ou des décennies précédant l'arrivée des chaînes commerciales. Tout en étant restreint, l'échantillon que nous avons constitué s'est révélé suffisamment révélateur pour confirmer notre hypothèse d'une information-cinéma devenue marchande et conclure que, par la fréquence et la combinaison croissantes de l'information aux allures cinématographiques, la mission première du JT est toujours d'informer. Mais il doit aussi et de plus en plus divertir et vendre. Et ce qui est valable pour TF1 l'est sans doute pour d'autres JT en France et ailleurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : journal télévisé ou JT, information-cinéma, marchandisation, information, TF1

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Tustin, Deon Harold. "The relationship between above-the-line advertising and below-the-line promotion spending in the marketing of South African products and services". Thesis, 2002. http://hdl.handle.net/10500/593.

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The rapid increase in the expenditure on below-the-line promotions (consumer and trade promotions, direct marketing, sponsorship and public relations) relative to above-the-line advertising (television, radio, print, outdoor and cinema) in South Africa has earmarked a new era of integrated marketing communication strategies across all sectors. Ultimately, this strategic shift has brought about a need to better understand the relationship between above-the-line advertising and below-the-line promotions and to measure the impact of such changes on company sales/profits over the long-term. In the research undertaken amongst 250 senior marketing, brand and product managers of South African brand-owned companies, the relationship between above-the-line advertising and below-the-line promotions in the marketing of South African products and services was investigated across six different economic sectors. It was evident from the findings that most brand-owned companies currently integrate above-the-line advertising and below-the-line promotion activities. The study shows that most brand-owned companies in South Africa combine press, radio and television (above-the-line) with consumer promotions (below-the-line). The most frequently used above-the-line advertising medium is television, which is also seen as the most important mode to support long-term brand building amongst consumers. In turn, print is regarded as the most important above-the-line mode to support trade franchise building. Most frequently used below-the-line modes include direct marketing and public relations. Direct mail and cooperative advertising are seen as the most important below-the-line consumer and trade franchise building modes respectively. Although marketing communication expenditure is positively skewed towards above-the-line adverstising, most recent trends show a gradual increase in the use of below-the-line promotions. To prevent a brand's sales/profits from decreasing over the long-term due to too high below-the-line promotional expenditure, the study encourages a sound balance between above-the-line advertising and below-the-line promotions. Although the ideal ratio of above-the-line advertising to below-the-line promotions is related to the nature of the product and service being marketed, the extent of competitive activity in the market and the frequency of purchase, amongst many other salient factors, the study regards a 60/40 ratio as the most ideal for building long-term brands. On the other hand, a ratio of 35/65 is regarded as the critical point at which company sales/profits may deteriorate because of too high below-the-line promotional spending. In conclusion it can be said that the marketing communication industry of South Africa has entered a period of integrated marketing communication practices which requires sound marketing communication budget strategies conducive to the long-term survival of South African products and services.
Business Management
D. Com. (Marketing Communication)

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46

Tustin, D. H. "The relationship between above-the-line advertising and below-the-line promotion spending in the marketing of South African products and services". Thesis, 2002. http://hdl.handle.net/10500/593.

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The rapid increase in the expenditure on below-the-line promotions (consumer and trade promotions, direct marketing, sponsorship and public relations) relative to above-the-line advertising (television, radio, print, outdoor and cinema) in South Africa has earmarked a new era of integrated marketing communication strategies across all sectors. Ultimately, this strategic shift has brought about a need to better understand the relationship between above-the-line advertising and below-the-line promotions and to measure the impact of such changes on company sales/profits over the long-term. In the research undertaken amongst 250 senior marketing, brand and product managers of South African brand-owned companies, the relationship between above-the-line advertising and below-the-line promotions in the marketing of South African products and services was investigated across six different economic sectors. It was evident from the findings that most brand-owned companies currently integrate above-the-line advertising and below-the-line promotion activities. The study shows that most brand-owned companies in South Africa combine press, radio and television (above-the-line) with consumer promotions (below-the-line). The most frequently used above-the-line advertising medium is television, which is also seen as the most important mode to support long-term brand building amongst consumers. In turn, print is regarded as the most important above-the-line mode to support trade franchise building. Most frequently used below-the-line modes include direct marketing and public relations. Direct mail and cooperative advertising are seen as the most important below-the-line consumer and trade franchise building modes respectively. Although marketing communication expenditure is positively skewed towards above-the-line adverstising, most recent trends show a gradual increase in the use of below-the-line promotions. To prevent a brand's sales/profits from decreasing over the long-term due to too high below-the-line promotional expenditure, the study encourages a sound balance between above-the-line advertising and below-the-line promotions. Although the ideal ratio of above-the-line advertising to below-the-line promotions is related to the nature of the product and service being marketed, the extent of competitive activity in the market and the frequency of purchase, amongst many other salient factors, the study regards a 60/40 ratio as the most ideal for building long-term brands. On the other hand, a ratio of 35/65 is regarded as the critical point at which company sales/profits may deteriorate because of too high below-the-line promotional spending. In conclusion it can be said that the marketing communication industry of South Africa has entered a period of integrated marketing communication practices which requires sound marketing communication budget strategies conducive to the long-term survival of South African products and services.
Business Management
D. Com. (Marketing Communication)

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