Artykuły w czasopismach na temat „Wong (Firm)”
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DeFond, Mark L., Jere R. Francis i T. J. Wong. "Auditor Industry Specialization and Market Segmentation: Evidence from Hong Kong". AUDITING: A Journal of Practice & Theory 19, nr 1 (1.03.2000): 49–66. http://dx.doi.org/10.2308/aud.2000.19.1.49.
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Audit fees of Big 6 and non-Big 6 accounting firms are examined for 348 publicly listed Hong Kong companies. Using more recent data than prior studies, we find evidence of Big 6 premiums for both general brand name and for industry specialization. In addition, we find that the large local firm Kwan Wong Tan & Fong, which is the market leader in the property sector, has significantly lower fees than both Big 6 and other non-Big 6 auditors in that industry. Specialization thus leads to different results for Big 6 and non-Big 6 firms and suggests a market segment not previously identified: non-Big 6 specialization, which leads to production economies and the capture of market share through lower fees for a clientele seeking low-priced audits. These results also suggest that prior studies do not recognize sufficiently that Big 6 brand-name reputation is a necessary foundation on which to achieve higher priced quality-differentiated audits based on industry specialization.
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Luo, Lang, Jiayin Wu i Jiatian Zhang. "Aesthetic Analysis of Wong Kar-wais Films and Reasons for Western Popularity: A Case Study of Chungking Express". Communications in Humanities Research 14, nr 1 (20.11.2023): 305–13. http://dx.doi.org/10.54254/2753-7064/14/20230507.
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Wong Kar-wais films are characterized by his unique filming techniques and captivating script dialogues, showcasing his distinctive cinematic style. Through personalized expressions, Wong introduces Eastern aesthetics and philosophical thinking to international audiences, resulting in enthusiastic reception. Taking Chungking Express as an example, this film is one of Wongs masterpieces, vividly portraying the urban landscape of 1980s Hong Kong. Despite its short production cycle, the movie has garnered numerous awards on the international stage. This paper delves into the reasons behind the international popularity of Wongs films, using Chungking Express as a case study. It analyzes foreign reviews of the film and explores Wong Kar-wais personal experiences, focusing on his filming techniques and scriptwriting style. Through personalized expressions, Wong presents Eastern aesthetics and philosophical thinking to international audiences, leaving a profound impression of Chinese elements in his films and contributing to their enthusiastic reception.
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Ande, Diin Fitri. "A BRIEF UNDERSTANDING OF ORGANIZATIONAL AMBIDEXTERITY AND DYNAMIC MANAGERIAL CAPABILITIES, AND HOW THEY RELATE?" JURISMA : Jurnal Riset Bisnis & Manajemen 9, nr 2 (28.12.2019): 197–205. http://dx.doi.org/10.34010/jurisma.v9i2.2248.
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The concept of organizational ambidexterity and dynamic managerial capabilities have raised researchers’ interest. Based on previous studies, this paper aims to provide a simple understanding of those two concepts, so that everyone from diverse backgrounds can easily capture the ideas of these concepts. In addition, the clear explanation of the relationship between dynamic managerial capabilities and organizational ambidexterity also provided. In short, Ambidexterity is defined as the need for the firm to achieve a balance between explore and exploit (He and Wong, 2004; O’Reilly, 2013) and the responsibility to manage both lays on the TMTs. On the other hand, Dynamic managerial capabilities emphasize the important role of managers or leaders to sense, to seize, and to reconfigure organizational skills and resources to match with changing the environment (Eisenhardt and Martin, 2000; Teece et al., 1997). TMTs dynamic managerial capabilities influence their ability to sense opportunities for ambidexterity and seize them through combining, integrating and reconfiguring exploitative and explorative resources and capabilities. Several studies have provided several examples of these two concepts are related. For instance, TMTs’ human capital describe the knowledge, education, experience, and skills of the TMTs, then logically, the TMTs that have rich working experience will be able to manage the resources for exploitative and explorative activities in the better system (Heavey, 2010).
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Ferguson, Andrew, i Gabriel Pündrich. "Does Industry Specialist Assurance of Non-Financial Information Matter to Investors?" AUDITING: A Journal of Practice & Theory 34, nr 2 (1.09.2014): 121–46. http://dx.doi.org/10.2308/ajpt-50930.
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SUMMARY Previous studies in the financial economics literature highlight the value of non-financial information in Internet and telephony stocks (Amir and Lev 1996; Trueman, Wong, and Zhang 2001). Other studies consider the financial and share price performance implications of assurance of non-financial information such as ISO 9000 certification (Corbett, Montes-Sancho, and Kirsch 2005), Total Quality Management awards (Hendricks and Singhal 1997), and non-financial information disclosure (Coram, Monroe, and Woodliff 2009). However, prior studies have occurred in settings where disclosure and assurance of non-financial information is voluntary. We provide evidence on the value of assurance of non-financial information where the assurance of public resource disclosures made under the JORC Code by Australian Mining Development Stage Entities are mandatory. The assurance role undertaken by Competent Persons reporting under the JORC Code bears many close similarities to the financial reporting assurance role undertaken by auditors. Further, the information environment of MDSEs is characterized by high information asymmetry and the reality that the utility of non-financial technical information supersedes financial statement information in firm valuation. We document very weak evidence of greater abnormal returns evident when reserve disclosures are provided by specialist mining consultants. In supplementary analysis, we test for implications of switching mineral consultant and find that clients experience significant positive abnormal returns when the successor is larger. Overall, our findings support the insurance hypothesis, in that mandatory specialist assurance matters little where litigation risk is low.
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Gleason, Timothy R., Qi Tang i Jean Giovanetti. "Wong Kar-Wai". Journal of Asian Pacific Communication 12, nr 2 (31.12.2002): 291–310. http://dx.doi.org/10.1075/japc.12.2.06gle.
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Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the auteur as structure approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wongs style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kongs hand-over to China.
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Gladkikh, Valeriya, i Aleksandr Alekseev. "Agent-Based Modeling of Construction Firms’ Organizational Behavior in Public Tenders". Journal of Risk and Financial Management 16, nr 2 (9.02.2023): 105. http://dx.doi.org/10.3390/jrfm16020105.
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A key problem of construction firms’ management and economy is organization of effective participation in public tenders. The direct executor, who determines the price of the contract, may be interested in obtaining as many contracts as possible. It means that his strategic behavior in tender may be to undervalue each individual offer. At the same time, such a strategy can be a source of risk of project loss because the actual costs may be lower than the price of the contract won. The management of the construction organization is not interested in this. On the other hand, overpricing strategy may lead to a reduction in the number of contracts won, which may not seem effective either for the head or for the executor of such an organization. The article discusses whether the profits of a construction firm can increase by using a more precise method of calculating the estimated cost. The second question is—which staff of a construction firm will benefit from using such methods? The aim of this work is to test these hypotheses with the instrumentality of agent-based modeling. Profit values of construction firms were obtained by the computer simulation of the construction firms’ strategic behavior in public tenders. Results of 1500 computer experiments are presented as a decision tree. It can be seen that when using a more precise method, construction firms win tenders almost two times less often. However, they incur losses many times less than with an inaccurate method. If a construction firm made a profit from the contracts won, the profit margin was almost always greater when using the more precise method. Moreover, the results of game-theoretic modeling are given. Values of the objective functions of the executor and head of the construction firm were obtained, taking into account the reward for contracts won and penalty for miscalculating the cost of work. It has been proved that using more precise methods for calculating the estimated cost is beneficial to both the head and the executor. It can be concluded that both hypotheses were confirmed and a precise method for calculating the cost increases the efficiency of a construction firm.
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King, Homay. "Anna May Wong and the Color Image". liquid blackness 5, nr 2 (1.10.2021): 59–73. http://dx.doi.org/10.1215/26923874-9272782.
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Abstract In Cinema 1, Deleuze proposes the “color-image,” a type of film image with an “absorbent characteristic” that does not refer to a particular object but seizes all that happens within its range. Like color-images, racial categories have an absorbent, seizing quality: they assert “color” at the expense of the object of representation. Deleuze does not address the potential applications of his concept to race, but they are especially illuminating when applied to early color-process cinema. This essay approaches The Toll of the Sea (dir. Chester M. Franklin, 1922), starring Anna May Wong and set in China, the first Technicolor film to be widely distributed in general release, as a feature-length “China Girl” and feature-length color-image, in Deleuze's sense. It further shows how Wong and her world are virtualized in this film under the rubric of a fictional orientalist palette.
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Wang, Chenlinyang. "A Study of Film Aesthetics of Wong Kar-wai --Taking Fallen Angels as an Example". Communications in Humanities Research 21, nr 1 (7.12.2023): 72–77. http://dx.doi.org/10.54254/2753-7064/21/20231418.
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This research delves into an in-depth exploration of Wong Kar-wais cinematic approach, with a primary focus on his distinctive film style. To vividly illustrate Wong Kar-Wais unique visual language, This research will employ his 1995 film Fallen Angels as a case study. This cinematic masterpiece serves as an exemplary showcase of Wong Kar-Wais unparalleled storytelling prowess and distinctive filmic techniques. The paper aims to conduct a comprehensive examination of Wong Kar-Wais cinematic artistry, with a specific emphasis on four key elements: frameskipping, color filtering, the innovative use of fisheye lenses, and the strategic implementation of slow-motion sequences. Additionally, this analysis highlights the enduring global influence and significance of Wong Kar-Wais contributions to the world of cinema, emphasizing his lasting impact on filmmaking and storytelling. The comprehensive analysis on the technical skills applied in Wong Kar-Wais Fallen Angels will further contribute to a alternative approach to Hong Kong cinema in the late 20th century.
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Setiawan, I. Nyoman Anom Fajaraditya, I. Nyoman Widhi Adnyana, Komang Redy Winatha i I. Nyoman Yoga Trisemarawima. "FILM DOKUMENTER EKSISTENSI TARIAN DAN KESENIAN SAKRAL WAYANG WONG DESA ADAT SIDAN". ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 5, nr 02 (12.09.2019): 251–64. http://dx.doi.org/10.33633/andharupa.v5i2.2561.
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AbstrakSeni pertunjukan wayang wong adalah salah satu kesenian di Bali dan masih ditarikan di daerah desa tradisional Sidan, Kecamatan Petang, Kabupaten Badung, Bali. Kesenian wayang wong ini menjadi menarik, karena merupakan salah satu kesenian yang dianggap sakral oleh masyarakat setempat. Tetapi di Desa Sidan, wayang wong hanya ditarikan saat upacara keagamaan khusus. Pada prosesi sebelum pertunjukan ditarikan oleh masyarakat setempat, dilakukan ritual khusus pada para penari. Pengamatan lapangan tidak ditemukan adanya dokumentasi dalam bentuk apapun yang mengacu pada rangkaian acara tersebut, termasuk foto ataupun rekaman video. Berdasarkan wawancara dengan kelompok penari, regenerasi dilakukan dari generasi ke generasi secara langsung. Tidak adanya dokumen fisik atau digital, memotivasi tindak lanjut untuk mengeksplorasi fenomena kesenian ini. Metode kualitatif melalui pengumpulan data observasi tempat rangkaian prosesi kesenian wayang wong dan wawancara dilakukan pada anggota penari serta pimpinan desa adat yang mengetahui eksistensi kesenian ini. Kemudian dikomparasikan dengan proses perancangan video, sehingga didapatkan rangkaian cerita dalam bentuk film dokumenter. Finalisasi film dokumenter kemudian didelegasikan secara langsung pada masyarakat setempat, sehingga dapat digunakan sebagai acuan kajian lebih lanjut oleh para akademisi ataupun praktisi seni. Hal ini bertujuan untuk melestarikan kesenian wayang wong sakral yang telah langka di Bali. Kata Kunci: film, dokumenter, tari, wayang wong, Bali AbstractWayang wong performance art is one of the arts in Bali and is still danced in the traditional village area of Sidan, Petang District, Badung Regency, Bali. Wayang wong art is interesting because it is one of the arts that are considered sacred by the local community. But in Sidan Village, wayang wong is only danced during special religious ceremonies. In the procession, before the performance was danced by the local community, a special ritual was performed for the dancers. Field observations were not found in any form of documentation that refers to the series of events, including photographs or video recordings. Based on interviews with dancer groups, regeneration is carried out from generation to generation directly. The absence of physical or digital documents motivates follow-up to explore this artistic phenomenon. The qualitative method was through observation data collection where a series of wayang wong art processions and interviews were conducted with dancers and traditional village leaders who knew the existence of this art. Then it is compared with the video design process so that a series of stories is obtained in the form of a documentary film. The finalization of the documentary was then delegated directly to the local community so that it could be used as a reference for further studies by academics or arts practitioners. It aims to preserve the art of the sacred wayang wong which has been rare in Bali. Keywords: film, documentary, dance, wayang wong, Bali
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Lee, Donghyun. "Exploring Philosophical Dimensions in Wong Kar-wai's Filmography". Journal of Global Research in Education and Social Science 18, nr 3 (28.06.2024): 16–22. http://dx.doi.org/10.56557/jogress/2024/v18i38753.
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The Auteur theory is a theory that says directors serve as the primary creative force behind films, shaping their narratives and imbuing them with their personal philosophies. This paper delves into the cinematic filmography of Wong Kar-wai, a renowned Hong Kong film director known for his exploration of philosophical themes within the context of Asian society. Through examinations of his films, this study investigates the subtle interplay between Wong’s directorial vision and the philosophical underpinning embedded within each film. Including themes that are controversial in Asian society in the past, such as Queer and marriage affairs, prevalent in Wong Kar-wai’s every work, this research explores the cultural and societal implications of these issues within the Asian community. Despite the evolution of the film industry, Wong’s commitment to infusing his films with thought-provoking philosophical perspectives remains evident, and his movies are absolutely fascinating and worth studying. By analyzing five different Wong Kar-wai films, Chungking Express, In the Mood for Love, Happy Together, Fallen Angels, and Days of Being Wild, through the lens of auteur theory, this study aims to explore the intricate relationship between the director’s ideology and the thematic elements present in his cinematic works. Furthermore, the author explored the cultural and societal issues and implications within the Asian community beyond Wong Kar-wai’s and found how the social and cultural situations have affected the film style of Wong Kar-wai in this research.
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Jang, Min yong. "Characteristics of Time in Wong Kar Wai’s Film". Journal of acting studies 10 (31.12.2017): 141–58. http://dx.doi.org/10.26764/jas.2017.10.8.
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Leong, Karen J. "Anna May Wong and the British Film Industry". Quarterly Review of Film and Video 23, nr 1 (styczeń 2006): 13–22. http://dx.doi.org/10.1080/10509200490476689.
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DONOVAN, MARY KATE. "Race, Celebrity and Fashion: Anna May Wong in Spanish Magazines of the 1930s". Bulletin of Hispanic Studies 97, nr 9 (1.10.2020): 931–53. http://dx.doi.org/10.3828/bhs.2020.53.
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Anna May Wong was the most widely known Asian American film actress of her generation, achieving unprecedented success in the Hollywood and European industry. When she traveled to Spain in 1935 to perform at the Teatro Casablanca in Madrid, she was already an international star and her visit garnered extensive coverage from the Spanish press, particularly film magazines of the period. These magazines provided their largely female readership with access to Hollywood stars such as Wong, whose celebrity was the site of complex negotiations of race, ethnicity and citizenship in the United States and Europe during the 1930s. Publications such as Cinegramas and Popular Film represented Wong for Spanish readers who, although removed from the particularities of race politics in the United States, were nevertheless intrigued by her ‘exotic allure’, positioned as she was at the intersection of racial otherness and Hollywood glamour. By reading Wong in Spanish magazines from the 1930s, this article considers how Spanish readers might have used these representations as a tool for negotiating their own identities as cosmopolitan at a moment when Spain was often perceived as existing on the cultural margins of Western Europe.
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Espinosa, Shirlita. "Use of Time and Wong Kar-wai". Plaridel 2, nr 2 (1.08.2005): 115–42. http://dx.doi.org/10.52518/2005.2.2-06sspns.
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Wong Kar-wai’s films are analyzed and assessed according to their use of narrative film and how much of Time is appropriated and valorized in order to show its importance to Hong Kong as site of transnational capital exchange. This, in turn, is comparatively read against the background of Philippine cinema’s increasing use of social realism in films that implicate the country’s status as a neocolonial state and the people’s continuing struggle for greater opportunities. This essay argues that the use of editing and camera techniques and their implicative notion of time, speed, and progress are heavily anchored on the vicissitudes of a filmmaker’s economic and political “time.”
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Niu, Mohan. "Exploring the Unique Artistic Style in Wong Kar Wai's Films". Lecture Notes in Education Psychology and Public Media 43, nr 1 (14.03.2024): 107–11. http://dx.doi.org/10.54254/2753-7048/43/20240668.
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The French New Wave movement of the 1950s and 1960s was a breath of fresh wind of innovation for the dull film industry. As one of the critical theories of this movement, the auteur theory provided an essential theoretical basis for expressing individual artistic ideas by film artists. This theory and the movement also had a significant impact on the world, and film director Wong Kar Wai was one of those influences. This paper shall look at director Wong Kar Wai's filmography, using auteur theory as a guide and synthesising the authorship qualities present in Wong's films in terms of thematic concerns, narrational strategies and stylistic features. At the same time, the paper also discusses the relationship between the stylistic formation of Wong's films and his collaborators, as well as the broader cinematic, industrial and cultural contexts in which he can be situated. In conclusion, this study aims to investigate Wong's auteur identity through in-depth textual analyses.
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Ahmadi, Ahmadi, Denan Ihsan Putra Mulyono, Redi Panuju i Harliantara Harliantara. "SEMIOTIKA PESAN MORAL DALAM FILM PENDEK PITUTUR PRODUKSI PANIRADYA KAISTIMEWAN D.I.YOGYAKARTA". Prosiding Seminar Nasional & Call for Paper "Peran Perempuan Sebagai Pahlawan di Era Pandemi" PSGESI LPPM UWP 9, nr 01 (16.11.2022): 6–19. http://dx.doi.org/10.38156/gesi.v9i01.212.
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Tulisan ini membahas mengenai pesan moral dalam sebuah film pendek yang ditinjau melalui tanda yang selanjutnya dikaji melalui kacamata semiotika. Film yang menjadi objek tulisan ini merupakan film pendek dengan judul “Pitutur” atau yang dalam Bahasa Indonesia memiliki arti “Nasihat” yang diproduksi oleh Paniradya Kaistimewan, sebuah lembaga pemerintahan di bawah lingkup pemerintah Daerah Istiemwa Yogyakarta. Film merupakan buah cermin kehidupan manusia yang tercitrakan melalui medium audio dan visual. Film menampilkan sebuah tanda, dan tanda merujuk pada suatu makna. Lebih jauh, film juga membawa pesan tertentu yang coba disebar-luaskan kepada audiennya. Film pendek Pitutur menceritakan tentang dua orang sahabat dengan karakter dan latar kehidupan yang berbeda. Terdapat beberapa konflik yang terjadi antara para pemain. Puncaknya, terjadi sesuatu yang tidak diinginkan buah dari tindakan yang telah dilakukan sebelumnya. Terdapat petuah yang menjadi dasar film ini, disebutkan: “Pituture wong tuwo kuwi, nek kok tindakke, uripmu bakal becik. Yen ning pituture wong tuwo ki ora tok gatekke, opo meneh ora kok tindakke, uripmu bakal jungkel-jungkel” atau dalam Bahasa Indonesia dapat diartikan “Pitutur (nasihat) orang tua itu jika didengarka
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Widodo, Jordy Satria, Aquarini Priyatna i Raden Muhammad Mulyadi. "Gender stereotypes in a modern Javanese nuclear family in film Mudik (2020)". Rainbow : Journal of Literature, Linguistics and Culture Studies 12, nr 1 (28.04.2023): 1–11. http://dx.doi.org/10.15294/rainbow.v12i1.60687.
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The characters of a Javanese husband and wife in films are often presented with gender stereotypes, such as Angayani (Providing for Family) for husbands and Manak (Giving and Caring for Children) for wives. This article aims to show the gender stereotypes of a husband and a wife in a modern Javanese nuclear family in film Mudik (2020) by Adriyanto Dewo. Gender stereotypes are established values that have been socialized through the concepts of Dadi Wong (Being a successful person) and Durung Tutug, Jowo, or Rampung (Being an unsuccessful person) in Javanese society. Those who successfully meet these values will be included in Dadi Wong category, but if they are not able to, they will be classified in Durung Tutug, Jowo, or Rampung category. This study uses narratology as an analytical method which is elaborated with the theory of gender performativity and power relations. The results of this study indicate that the representation of the husband in this film is considered unable to fulfill Dadi Wong conception due to the absence of children and financial instability. Meanwhile, the representation of the wife is unable to reach the qualifications of Dadi Wong due to her infertility condition and role in the public sphere.
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Chhadwa, J., P. K. Bhoyar i J. C. Sharmiladevi. "Role of Corporate Social Responsibility in Building Brand Loyalty and Purchase Consideration of Products and Services for Millennials". CARDIOMETRY, nr 23 (20.08.2022): 577–84. http://dx.doi.org/10.18137/cardiometry.2022.23.577584.
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Can Corporate Social Responsibility have marketing implications and create value for the firm? This is a question which marketing managers often face. This study helps to examine and identify if CSR has a role in building brand loyalty and purchase consideration of products and services for Millennials. A questionnaire was rolled out, and factor analysis was conducted on the data. The Findings suggest that CSR does help in creating a strong brand image, adds to the brand value of the firm, and helps to develop brand loyalty in the consumers and firms, which invest in CSR, are easily recognized by the consumer and thus helps them to consider the firm for the purchase of products & services. Thus, Marketing Managers should focus on aligning CSR activities, so the consumer can also be engaged with the brand and adds value to all stakeholders. Thus if CSR managers enforce in their organizations to make sustainable products, customers can be won on product differentiation.
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Alcalde Heras, Henar, Miren Estensoro i Miren Larrea. "Organizational ambidexterity in policy networks". Competitiveness Review: An International Business Journal 30, nr 2 (2.01.2020): 219–42. http://dx.doi.org/10.1108/cr-02-2018-0013.
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Purpose This paper aims to propose an analytical framework in which to study ambidexterity in the management of policy networks. The paper is inspired by the concept of organizational ambidexterity in the public sector (Smith and Umans, 2015). By focusing on policy networks fostered by public administration with the aim of supporting small- and medium-sized enterprise (SME) innovation, the paper elaborates on the links between firm innovation and performance and regional development. The cases analyzed are policy networks fostered by two publicly owned county development agencies in the Basque Country (Spain). An analytical framework emerges from bridging the gap between theory and practice. By understanding ambidexterity as a dynamic capability, the authors found that key ambidexterity drivers are related to network features (motivation to balance exploration and exploitation and diversity in terms of participants) and the individual feature of diversity within the network management group. However, other individual characteristics (leadership style) and territorial features (local institutional capacity) did not provide conclusive insights, calling for a deeper analysis and complex models to capture specific nuances. Design/methodology/approach The method used in the empirical part of the paper is the case study, as it considers the contextual conditions pertaining to a phenomenon (Yin, 2009) and helps understand present dynamics in specific contexts (Eisenhardt, 1989; Yin, 2009). Flyvbjerg (2006) examines common misunderstandings about case studies to conclude that social science may be strengthened by the execution of greater number of good case studies. Following his arguments, the authors consider that practical knowledge is also valuable together with theory, that is why the framework is not derived exclusively form theory but from the interaction and mutual influence of theory and practice. Findings The case studies lead to a discussion on the effect of network, territorial and individual characteristics (including management/facilitation modes) on network outcomes, including innovation performance of firms and network sustainability. Additionally, these cases show the importance of different factors as necessary conditions and key discriminants when supporting ambidextrous networks. The case analysis and the integration of the theory in this analysis allow observing the evolution of both networks, developing some conclusions on the core factors that influenced these trajectories, thus proposing an analytical framework. Specifically, it can be seen that some of the factors conditioned the ambidextrous strategy of the network. Practical implications The main implication of the paper in practice is that the concept of ambidexterity and the framework developed to understand some of its features are a useful tool to diagnose policy networks. The impact in society inspired in this implication is that authors, through the discussion workshops mentioned in the methodology section, have helped the community of policy network managers in Gipuzkoa reflect and improve their strategies and consider the potential of not exclusively focusing on exploration or exploitation. Consequently, the impact on society, in this case on policy networks in the region, has gone beyond the cases studied. Originality/value The paper proposes the concept of ambidexterity as one that helps analyze the ability of policy networks to foster SMEs innovation. Managerial literature has extensively analyzed the importance of modes to foster ambidexterity within organizations (Gibson and Birkenshaw, 2004; He and Wong, 2004; Levinthal and March, 1993; Lubatkin et al., 2006) and also its individual dimension (Volery et al., 2015). Managerial focus on policy networks and its link to organizational ambidexterity thus remain understudied. Although private sector literature has explored both concepts, the relation between them has not been analyzed (Smith and Umans, 2015).
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Wilson, Emma. "Telephone calls in Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016)". Alphaville: Journal of Film and Screen Media, nr 18 (1.12.2019): 12–23. http://dx.doi.org/10.33178/alpha.18.02.
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The Hollywood Reporter feature on Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016) reads: “Where journalism leaves off, Fire at Sea begins”. The director spent months living alone on Lampedusa looking for ways to film the current refugee tragedy in the Mediterranean. The poetic film that he made (and that won the Golden Bear at Berlin) is an indirect reckoning with its subject, and, I argue no less political for this. Referring to the work of Adriana Cavarero, Christina Sharpe, Anne Dufourmantelle and Judith Butler, this article explores the uses of recorded telephone calls and other transmitted voices and songs in the film. These calls and voices offer forms of appeal and aural, non-visual, but bodily, affective traces. The film emphasises the political importance of listening, and of attending to these calls and voices, envisaging a mesh of connectedness, of threads of human attachment.
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XiaoChen, Ren. "The Analysis On The Style Of Director Wong Karwai's “Author Film”". Journal of the Korea Entertainment Industry Association 11, nr 7 (31.10.2017): 79–86. http://dx.doi.org/10.21184/jkeia.2017.10.11.7.79.
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Frolov, Serge. "Fire, Smoke, and Judah in Judges: A Response to Gregory Wong". Scandinavian Journal of the Old Testament 21, nr 1 (styczeń 2007): 127–38. http://dx.doi.org/10.1080/09018320601171005.
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Knepper, Matthew. "From the Fringe to the Fore: Labor Unions and Employee Compensation". Review of Economics and Statistics 102, nr 1 (marzec 2020): 98–112. http://dx.doi.org/10.1162/rest_a_00803.
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Conventional wisdom suggests that labor unions raise worker wages, while the newer empirical literature finds only negligible earnings effects. I reconcile this apparent contradiction by arguing that collective bargaining targets fringe benefits. Using U.S. firm-level data from the Bureau of Economic Analysis (BEA) Multinational Enterprise Survey and Compustat, I exploit a regression discontinuity in majority rule union elections to compare changes in employee compensation at firms whose establishment barely won a union election against those that barely lost an election. Following unionization, average employee compensation and employer pension contributions increase, which raises the labor share of compensation.
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Wei, Juntong. "Wong Kar-wai's Film Aesthetics: An Analysis of Chungking Express from the Perspective of Film Studies". Journal of Education, Humanities and Social Sciences 33 (17.06.2024): 78–84. http://dx.doi.org/10.54097/hq19yz65.
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Chungking Express is a strong stroke in Hong Kong films, whether it is the choice of characters, the deep meaning of the shooting technique, the suspenseful metaphor or the subtle and rich emotion, all make this film bring a unique look and feel to the audience. Since its release in the 90s of the 20th centuries, Chungking Express has received wide attention in society and film academia and has also triggered a boom in appreciation and analysis by many audiences and critics. The external characteristics and internal significance of the film are still worth studying and reading in the 21st century. This paper will explore the narrative characteristics, color and composition of the Chungking Express in the film. Emotional and gender elements and other dimensions analyze Wong Kar-wai's early style and the charm of Hong Kong films' works in their heyday, analyze the practical application of Wong Kar-wai's film aesthetics and the distinctive vitality of some Hong Kong films under the influence of regional and contemporary backgrounds, and draw on their reference significance for films in the new era, based on the present, look to the future, learn from the experience of predecessors, tap the potential of new film elements, and help high-quality films to achieve great progress and development.
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Sahulata, Arelle Nathania, i Dimas Satrio Wijaksono. "Representasi Peran Tokoh Abuela Sebagai Nenek Dalam Film Animasi Encanto". WACANA: Jurnal Ilmiah Ilmu Komunikasi 23, nr 1 (25.06.2024): 1–15. http://dx.doi.org/10.32509/wacana.v23i1.2666.
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Encanto is a computer-animated family film with musical, comedy, and fantasy genres. The Encanto film won an Academy Award (Oscar) for Best Animated Film in 2022. As a mass communication medium, the Encanto film represents a unique reality where women play an important societal role. In the film Encanto, Abuela, the grandmother of the Madrigal family, plays an essential role in the existence of the Madrigal family and the community of Encanto. This reality generally differs from the reality of life, where men dominate essential societal roles. This study aims to describe the role of Abuela represented in the film Encanto at three levels of John Fiske's semiotics: the level of reality, the level of representation, and the level of ideology. The research used a qualitative method with an analysis of John Fiske's semiotic theory based on constructivist paradigm. After conducting research, the researcher found that Abuela's roles in the film Encanto include family historian, teacher, head of the Madrigal family, and head of the community of Encanto. That role is represented by authoritative, firm, weak, and prone to wounds (melancholy) characteristics. In addition, a matriarch ideology was found as the basis of Abuela's role among the people of Encanto.
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Rao, Palavalasa Sai Kamalakar, A. Abdulraheem i A. Ruksana Banu. "Strategic Management Practice for Small and Medium-sized Enterprises in Tamil Nadu: Empirical Evidence". International Journal of Advance Research and Innovation 10, nr 2 (2022): 24–35. http://dx.doi.org/10.51976/ijari.1022205.
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The survival rate of SMEs and consequently their business performance within the current competitive environment are essential for the economic development of most economies, particularly for developing countries. For this study, the secondary sources supported to supply an in-depth literature study and to postulate the hypotheses. The first source for data was surveyed instrument (questionnaire method) and snowball sampling technique was wont to collect data through referral-chain. The sensible implications are that SMEs management and manager need to strengthen the formal strategic planning and practices so as to reinforce the firm’s performance. Furthermore, appropriate business growth plan should be considered as a management tool to extend their market share and growth. the most contributions of this study are that it adds to the prevailing literature review and analyzed various dimensions of strategic planning and management practices within the context Strategic management practices ask a series of designing steps that support firms or corporations to define their mission, vision, goals, and objectives also as support in analysis the environmental. Thus, it are often implied that strategic management practices integrate the objectives and policies of the firm, and therefore the sequence of business decision-making and action is comprehensible as an entire , where the management and managers play a crucial role in strategic management practices and planning. Small and Medium-sized Enterprises (SMEs) plays a crucial role within the world’s economies, as they create jobs and add value via innovation. However, the contributions and performance may vary from one firm to a different within sectors, country, and nations. For this study, the secondary sources supported to supply an in-depth literature study and to postulate the hypotheses. the first source for data was surveyed instrument (questionnaire method) and snowball sampling technique was wont to collect data through referral-chain. The most purpose of this study is to further investigate if strategic management practices through the resource-based approach are often wont to enhance a firm’s performance within the Tamilnadu SMEs context.
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Obi, Pat, i Jeong Gil Choi. "Asia-Pacific Hotels International: Managing Short Term Cash in the Derivatives Market". Asian Case Research Journal 14, nr 02 (grudzień 2010): 233–44. http://dx.doi.org/10.1142/s0218927510001398.
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This case deals with a cash management problem for an international hotel based in Seoul, Korea. Although successful in its core hotel operations, the firm has not been as successful in managing its short term cash flow. Part of the firm's operating and materials costs are in US dollars although all of its operating incomes are in the local currency, the South Korean won. This imbalance creates a currency risk exposure in the management of the firm's working capital. To ensure that it has sufficient funds to pay its dollar-denominated costs, the firm is considering the investment in a sizeable amount of dollar-denominated time deposits. Pursuing this strategy, however, involves a two-fold global dimension: First, the firm must determine what exchange rate conditions would make it suitable to invest in dollar-denominated time deposits rather than in the local currency. Second, for any such dollar-denominated short-term investments, the firm must decide when and how to use the facilities of the Eurodollar futures market to hedge the currency risk exposure. The specific approach being considered includes a combined position in Eurodollar time deposits and Eurodollar futures contract. This case presents an opportunity to learn how firms can successfully combine short-term investments in a foreign currency-denominated time deposit with positions in the derivatives markets, the aim of which is to manage exposure to currency risk.
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Sherrard, Evan, i Isabelle Sherrard. "The Ground We Won (Film Review)". Ata: Journal of Psychotherapy Aotearoa New Zealand 19, nr 1 (18.09.2015): 87–89. http://dx.doi.org/10.9791/ajpanz.2015.08.
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Rugby and farming are so much symbols of national identity in New Zealand that it is good to have the opportunity of an unsentimental film, made by husband and wife Christopher Pryor and Miriam Smith, and self-confessed rugby outsiders, to offer a reflection of what one reviewer has referred to as “an overplayed mythology”.
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Li, Yumin. "Shape shifters: Racialized and gendered crossings inPiccadilly(1929) andShanghai Express(1932)". Sexualities 23, nr 1-2 (21.11.2018): 170–200. http://dx.doi.org/10.1177/1363460718779800.
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The Chinese American actress Anna May Wong (1905–1961) is today considered an ambivalent icon who, on the one hand, was the first Asian American film star to gain international recognition, and on the other hand, became a symbol of the hypersexualized Asian woman in film. In this article, I will analyse the crossing of racial and sexual boundaries in two of her films, Piccadilly (1929) and Shanghai Express (1932). The comparison of Piccadilly with Shanghai Express reveals the journey not only of transatlantic agents, like Anna May Wong, but also the simultaneous trajectory of sets of interrelated motifs, narratives, and aesthetic tropes. As discourses of gender and race converge into the figure of the transnational Asian American actress, Anna May Wong offers a key and privileged site to unpack and discuss them. The relationship between sexuality and race in these films has often been reduced to processes of exoticization. However, I will show that this relationship ought instead to be understood as interrelated through practices of appropriation, subversion, and cross-dressing.By applying the term ‘exotic’ to the analysis of Anna May Wong’s performances, I aim to foreground the entangled processes of sexualization and exoticization in order to reveal that the delineation of the ‘other’ is more ambivalent than clear. The films are particularly interesting in the context of ‘sexoticization’ because they do not construct a gendered and racialized ‘other’ that is clearly distinct to a western ‘us’. Modes of appropriation and masquerade complicate the representation of the ‘sexotic’, non-European ‘other’.
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Wilson, Emma. "From Lampedusa to the California Desert: Gianfranco Rosi's Scenes of Living and Dying". Film Quarterly 71, nr 3 (2018): 10–20. http://dx.doi.org/10.1525/fq.2018.71.3.10.
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Gianfranco Rosi's Fuocoammare (Fire at Sea, 2016), won the Golden Bear at the 2016 Berlinale, was shown to the European parliament, distributed to heads of state by Matteo Renzi, and has become the contemporary film most closely associated with the refugee crisis in the Mediterranean. This article considers the film alongside Rosi's earlier film about Slab City, California, Below Sea Level (2008), previously little seen in the US. Wilson argues that Rosi is more than a filmmaker of the migrant tragedy in Europe, radically important though his vision is of this moment. With and beyond Fuocoammare, all his films look at extreme experiences of living and dying. Inspired by the work of philosopher and psychoanalyst Anne Dufourmantelle on secrecy, love, tenderness and risk, Wilson considers how Rosi's films achieve a closeness to their characters: a sensory and emotional immediacy, whilst refusing voyeurism and intrusion.
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Peng, Xin. "Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)". Camera Obscura: Feminism, Culture, and Media Studies 37, nr 2 (1.09.2022): 1–29. http://dx.doi.org/10.1215/02705346-9786986.
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Abstract This article provides a comparative study of Anna May Wong and Sessue Hayakawa—the two most iconic stars of Asian descent of American cinema's silent era—by examining the reception history around their rare collaboration, the early sound film and yellow peril thriller Daughter of the Dragon (dir. Lloyd Corrigan, US, 1931). The on-screen collision of these two stars associated with the imaginary East reveals incongruities between a homogeneous Orientalist image and heterogeneous—culturally acquired, professionally trained, mechanically reproduced, and gendered—yellow voices. Situating the star personae of Wong and Hayakawa in the geopolitical environments of the interwar era, the essay foregrounds the plasticity of voice as a form of cultural capital fetishized as an exchangeable commodity through the heavily marketed product of the new sound cinema. In this case study, the accented voice serves also as a contact point between European, American, and Asian film industries. A close analysis of the differently accented yellow voices in Daughter of the Dragon demonstrates the artificial homogeneity of the Orient embodied by the supposedly “authentic” stars of Asian descent and complicates the established configurations of the gendered “Orientals”: the Janus-faced Japanese man and the ornamentalist yellow woman.
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Diestro-Dópido, Mar. "Cindy Hing-Yuk Wong: Film festivals: culture, people, and power on the global screen". Journal of Cultural Economics 36, nr 4 (11.09.2012): 353–56. http://dx.doi.org/10.1007/s10824-012-9182-6.
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Thanouli, Eleftheria. "The sensuous cinema of Wong Kar-wai: film poetics and the aesthetic of disturbance". New Review of Film and Television Studies 14, nr 2 (5.11.2015): 276–80. http://dx.doi.org/10.1080/17400309.2015.1109199.
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Wan, Marco. "Hail the Spectator: Embodiment, Injustice, and Film". Pólemos 15, nr 1 (1.04.2021): 49–64. http://dx.doi.org/10.1515/pol-2021-2007.
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Abstract How does film move us into caring about injustice, and what role do the qualities specific to the medium play in the process? In this article, I provide an answer to these questions by building on ideas about embodied spectatorship from film studies. I argue that the haptic nature of certain cinematic images can trigger a sensuous, corporeal response to unjust acts and processes in their viewers, and thereby cultivate in them a commitment to justice. I will anchor my argument through a close reading of Wong Jing’s Hail the Judge, a Hong Kong comedy about a woman who is framed for the murder of her family.
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McArdle, Dudley, Caroline Spencer i Frank Archer. "Morwell Coal Mine Fire as a Cascading Disaster: A Case Study". Prehospital and Disaster Medicine 34, s1 (maj 2019): s8. http://dx.doi.org/10.1017/s1049023x19000360.
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Introduction:Despite the influential Hyogo and Sendai Frameworks, risk remains poorly understood in the emergency preparedness sector. Hazard assessment and risk management are usually considered before events. An alternative view considers risk as a cascade of potential consequences throughout an event. The 2014 fire in the Victorian rural community of Morwell included a three-phased event: a small bush fire, from which embers ignited a persistent fire in a disused open cut brown coal mine fire. The consequent air pollution precipitated a public health emergency in the nearby community of 15,000 people.Aim:To examine this event as a case study to investigate concordance with accepted definitions and key elements of a cascading event.Methods:Selected literature informed a risk cascade definition and model as a framework to examine the key post-event public inquiries available in the public domain.Results:Informed by a Conceptual Framework for a Hazard Evolving into a Disaster (Birnbaum et al., 2015), Wong and colleagues promote a Core Structure of a Comprehensive Framework for Disaster Evaluation Typologies (Wong, 2017). This Core Structure provided an adequate model to examine the sequence of events in the Morwell event. Definitions of cascading effects is more complex (Zuccaro et al., 2018). Our analysis of the Morwell event used the authoritative definition of cascading disasters published by Pescaroli and Alexander (2015). Using this definition, the Morwell event increased in progression over time and generated unexpected secondary events of strong impact. The secondary events could be distinguished from the original source of disaster, and demonstrated failures of physical structures as well as inadequacy of disaster mitigation strategies, while highlighting unresolved vulnerabilities in human society.Discussion:The Morwell coal mine fire of 2014 reflects the key criteria of a cascading disaster and provides understandings to mitigate the consequences of similar events in the future.
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Sutandio, Anton. "RESTRAINING THE MOOD FOR LOVE: A SEMIOTIC ANALYSIS OF WONG KAR WAI’S IN THE MOOD FOR LOVE". Capture : Jurnal Seni Media Rekam 12, nr 1 (1.12.2020): 1–12. http://dx.doi.org/10.33153/capture.v12i1.3086.
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This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film.
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Winters, Jeffrey. "A Firm Grip". Mechanical Engineering 131, nr 10 (1.10.2009): 29. http://dx.doi.org/10.1115/1.2009-oct-2.
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This article presents an overview of the Peg Restrained Intrinsic Muscle Evaluator (PRIME) device developed by a team of students at the Rice University to measure the strength of a hand affected by nerve or muscle damage. Members of the PRIME team started work on the device in the fall of 2008. Up to that time, doctors commonly used a manual muscle test to measure hand strength. In this test, a patient is asked to lift each finger while the doctor presses gently down on it. Such a measurement is crude at best and totally subjective. The research team realized that it was important for their new device to rotate freely in the x–y plane and translate freely along the z-axis. Because of this freedom of movement, when the patient pulls on the load cell, the sensor can swivel so that the full force vector is measured. This project won the Innovation Showcase competition, and the team members received $10,000 in seed money.
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Lee, Fiona. "Film Festivals: Culture, People, and Power on the Global Screen, by Cindy Hing-Yuk Wong". Alphaville: Journal of Film and Screen Media, nr 3 (8.08.2012): 100–103. http://dx.doi.org/10.33178/alpha.3.08.
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Xin, Peng. "Outtakes and Lost Film: The Fragmentary Encounter between "Newsreel" Wong and the "Chinese Colleen Moore"". JCMS: Journal of Cinema and Media Studies 63, nr 3 (marzec 2024): 170–76. http://dx.doi.org/10.1353/cj.2024.a927693.
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Yi, Gang-Gyu. "Inclusion of Statutory Duties and Penal Provisions for CEOs and Managers to Prevent Fires in Industrial Settings". National Fire Research Institute of Korea 3 (31.12.2022): 79–103. http://dx.doi.org/10.54713/jfri.2022.3.79.
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In January 2022, the Serious Accidents Punishment Act went into force in Korea. According to The Korea Times (2022.2.11.) article “Sampyo Industry booked as 1st firm accused of violating new workplace disaster law,” workplace disaster law is “aimed at better protecting workers from industrial accidents.” According to the same article, “under the law, owners and CEOs of companies with five or more employees can face a minimum one-year prison sentence or a fine of up to 1 billion won (US$ 832,708) in the event of serious work place disaster.” Things are not very different in large-scale fires at factories. The fire accident which occurred on August 21 2018, within the Namdong Industrial Complex in Incheon, is an example of administrative negligence. According to The Korea Times (2018.8.21.) article “9 killed in electronics factory fire west of Seoul,” “[t]he fire occurred at around 3:43 p.m. at an electronics goods factory production line that reportedly handles hazardous materials. Some workers jumped out of the building before firefighters arrived, and lost their lives. Dozens of firetrucks were sent to the scene located inside the Namdong industrial complex.” It is clear that the CEO and managers of the factory bungled the management of its fire-facilities. According to The New York Times (2020.4.30.) article “‘We Are Not Learning Lessons’: South Korea Mourns an Avoidable Disaster,” “[m]ajor fires, many of them linked to lax safety standards, have plagued South Korea for decades.” Therefore, the Act on Fire Prevention and Installation, Maintenance, and Safety Control of Fire-Fighting Systems should be strengthened to prevent negligent behavior by the management, and prevent disasters, in line with the “Serious Accidents Punishment Act.”
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Yohanes Arie Kuncoroyakti. "ANALISIS SEMIOTIKA KOMUNIKASI ROLLAND BARTES DALAM FILM KUCUMBU TUBUH INDAHKU". Jurnal Sosial Humaniora dan Pendidikan 1, nr 2 (3.08.2022): 97–105. http://dx.doi.org/10.56127/jushpen.v1i2.247.
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The film, which was produced in 2018 and written by Garin Nugroho, won an award at the 75th Venice International Film Festival. In Indonesia, this film won 9 awards at film festivals. The existence of this film gets a lot of controversy in Indonesia, because of the LGBT issue. This study uses a communication semiotics approach with the Rolland Barthes method. Qualitative research methods with an interpretive paradigm are the basis for this research. The dominant eastern Javanese cultural value in this film is the cultural tradition of the lengger dancer. Juno as the main character in this film is interested in becoming a lengger dancer which is then opposed by the surrounding community, this is because the main character is a man. The inspiration for this film came from a choreographer who blended the lengger culture in East Java.
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Seo, Joo-Wan, i Seung-Chul Lee. "A Study on the Securing of Evacuation Stability of Complicated Accommodation Called Go-Si Won". Fire Science and Engineering 34, nr 5 (31.10.2020): 120–29. http://dx.doi.org/10.7731/kifse.9ced3ff7.
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This study investigates the process of securing the evacuation safety of the residents of Go-Si Won, which is known as the most dangerous commercial building structure. Thus, it aims to analyze the fire characteristics of the ignition room regarding effective fire escape means. To achieve the research objective, the fire simulation was conducted and analyzed under various conditions at the honeycomb-shaped Go-Si Won. Consequently, the simulation showed an increase in escape permit duration, which was 32 to 36 s longer when operating the smoke control and sprinkler systems than opening smoke windows. The evacuation time shortens as emergency exit stairs are added. The fire facilities are difficult to operate and maintain because of malfunction caused by the building’s deterioration. To enhance the evacuation safety of the honeycomb-shaped Go-Si Won, institutional improvements are needed to strengthen the issuance criteria for facility safety completion certificates, depending on the number of implemented evacuation steps.
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Kumar, Rebecca. "“You're in the Middle of the World”". liquid blackness 8, nr 1 (1.04.2024): 44–65. http://dx.doi.org/10.1215/26923874-11005952.
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Abstract Despite Barry Jenkins's pronounced and intentional allusions to the work of Hong Kong auteur Wong Kar Wai, film scholars have generally made little of the pervasive Asian elements in Moonlight (2016). This essay, however, offers a sustained study of the film's aesthetic and political engagement with Wong's cinema. It highlights how the distinct Asian femininity, or ornamentalism, of Days of Being Wild (1990) and In the Mood for Love (2001) are translated into Moonlight and reinforce the film's key themes on Black queerness, especially its ontological implications for Black (non)being and its material implications for Black embodiment. Furthermore, this essay claims that by borrowing from films in which Wong visually explores postcolonial loss—especially Happy Together (1997), about a pair of queer male Hong Kong migrants who work and live in Buenos Aires—Jenkins emphasizes the historic and global magnitude of queer Black diasporic dislocation and humanlessness. Ultimately, this essay outlines how the convergence of Black and Asian forms in Moonlight disrupts white, liberal, humanist scripts on racial, gendered, and sexual formation.
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CHO, Hongsun. "A Study on the Political Significance of Wong Kar Wai Film In the Mood for Love". Journal of Chinese Literature 83 (30.05.2021): 77–99. http://dx.doi.org/10.31985/jcl.83.4.
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Archibald, David. "Book Review: Cindy Hing-Yuk Wong,Film Festivals: Culture, People, and Power on the Global Screen". Media, Culture & Society 35, nr 3 (kwiecień 2013): 406–7. http://dx.doi.org/10.1177/0163443712473416a.
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Gao, Yu, i Myungsook Choi. "A Study on Convergence of Color and Music in the Movie Crouching Tiger, Hidden Dragon". Korean Society of Culture and Convergence 44, nr 11 (30.11.2022): 1083–97. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1083.
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The film Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee, known as one of the new era of Chinese martial arts films, is the first film in Chinese film history to win the Academy Award for Best Foreign Language Film. Tan Dun, a composer and conductor, won the 73rd Academy Awards for Best Original Music in 2001 by the music of Crouching Tiger, Hidden Dragon. In 2002, he won the 44th Grammy Award for Best Original Film Music Album, and began to receive extensive attention. This paper explored Crouching Tiger, Hidden Dragon with strong oriental color and traditional music and investigated the Chinese traditional color view and aesthetic thought of director Ang Lee by his pursuit of the costume color and modeling of the main characters in the film. At the same time, through the music of Crouching Tiger, Hidden Dragon that throughout the film, to show the music creation characteristics of the integration of eastern and western music of Tan Dun.
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Wahyuni, Sri, i Sutan Febriansyah. "Determinasi Triple Bottom Line Disclosure Terhadap Nilai Perusahaan dengan Profitabilitas dan Volatilitas Arus Kas Sebagai Pemoderasi dan Ukuran Perusahaan Sebagai Variabel Kontrol". Jurnal Akuntansi dan Keuangan 11, nr 1 (1.03.2023): 1. http://dx.doi.org/10.29103/jak.v11i1.8506.
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This study aims to examine the effect of The Triple Bottom Line (TBL) on firm value moderated by profitability and cash flow volatility. The two moderaing variables are controlled by firm size as a control variable. The sample was taken using a purposive sampling technique and the sample obtained was 43 companies that won Indonesia Corporate Social Responsibility Awards (ICSRA) 2021. This study used Moderated Regression Analysis (MRA). The result show that The Triple Bottom Line (TBL) and cash flow volatility have no effect on the value of the Indonesia Corporate Social Responsibility Awards (ICSRA) 2021. Meanwhile, profitability has a negative effect on firm value. In term of moderation, its is found that profitability is proven to be able to strengthen the relationship between the Triple Bottom Line (TBL) and firm value. Meanwhile, cash flow volatility was not able to strenghthen the relationship between the Triple Bottom Line (TBL) and firm value.
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Rivera, Andrea, i María Clara González. "Comportamiento y percepción del dolor en niños colombianos sometidos a electromiografía de superficie". Odontología Vital 1, nr 26 (1.06.2017): 21–28. http://dx.doi.org/10.59334/rov.v1i26.220.
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Introducción: La Electromiografía-EMG de superficie evalúa la función muscular. Es poco utilizada como examen de rutina para valorar los músculos periorales y masticatorios, debido a que algunos consideran que puede ser molesto para el paciente pediátrico. Objetivo: Describir la percepción de dolor y el comportamiento en niños colombianos con y sin labio y paladar fisurado durante el examen de electromiografía de superficie en músculos periorales y masticatorios. Métodos: Previa aprobación del comité de ética (acta-009 2013p) y firma de consentimiento y asentimiento informado. Se realizó el examen en 69 niños entre 5-15 años: 45 con labio y paladar hendido (23-fisura unilateral, 22-fisura bilateral) y 24 sin hendidura. Se aplicaron las escalas de Wong Baker (Dolor) y Frankl (comportamiento). Resultados: 66 niños (95,65%) presentaron comportamiento Tipo 4 y 3 niños (4,35%) mostraron comportamiento Tipo 3 al inicio del examen. Al final del procedimiento, el 100% presentó comportamiento tipo 4. La percepción del dolor con la escala Wong Baker mostro ningún dolor en 62 niños (89,86%) y solo un poco de dolor en 7 (10,14%). Conclusiones: Los menores no manifiestan cambios importantes en su comportamiento por dolor o molestias durante el procedimiento de electromiografía de superficie.
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Ciobanu, Estella. "Not Just Eating, but Consuming: Food and Cooks in To the Lighthouse, The Cook, the Thief, His Wife and Her Lover and In the Mood for Love". East-West Cultural Passage 19, nr 2 (1.12.2019): 71–95. http://dx.doi.org/10.2478/ewcp-2019-0013.
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Abstract This essay examines the perspectives on food, cooking and commensality offered by three highly dissimilar works: Virginia Woolf’s novel To the Lighthouse (1927), Peter Greenaway’s film The Cook, the Thief, His Wife and Her Lover (1989) and, as a cultural foil for the two British works, a Chinese film, Wong Kar-Wai’s In the Mood for Love (2000). Food or eating is not the central topic of any of them, save Greenaway’s film. Rather, their common denominator is the interplay of visuality and its implicit or explicit social reference, for all three works engage, however differently, with the class differential entailed in scenes featuring food or eating. I use Edmund Husserl’s phenomenological concept of orientation – amended in intersectional terms – to examine the cook figures and instances of representing food or eating in the three works. My working hypothesis is that such representations may reveal both the permanent negotiation of cultural values attached to culinary practices, including to the agents involved, and what they conceal socially.
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White, Rob. "Nuri Bilge Ceylan: An Introduction and Interview". Film Quarterly 65, nr 2 (2011): 64–72. http://dx.doi.org/10.1525/fq.2011.65.2.64.
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An interview with Turkish film director Nuri Bilge Ceylan about his film Once Upon a Time in Anatolia, which won the 2011 Grand Prix at the Cannes Film Festival. Ceylan discusses his cinematic technique as well as his characters' “inner violence” and complex motivations.