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Die Dissertation ist eine medienhistorische Studie über die Einführung des Tons im sowjetischen Kino, die ästhetische und technologische Veränderungen in einem weiter gefassten politischen und kulturellen Kontext interpretiert. In historischen Untersuchungen des frühen Tonfilms der letzten zehn Jahre wurde der sowjetischen Methode des asynchronen Tons häufig die verbreitetere Methode der möglichst genauen Synchronisation gegenübergestellt, wie sie von der Filmindustrie in Hollywood in den späten 1920er und frühen 1930er Jahren entwickelt wurde. Die Arbeit geht über diese zum Standard gewordene Erzählung hinaus. In einer Reihe von Fallstudien wird die Arbeit sowjetischer Filmemacher, Drehbuchautoren, Filmtheoretiker und Toningenieure analysiert, um zu demonstrieren, dass in der Sowjetunion in der Frühphase des Filmtons sehr unterschiedliche Haltungen zum Ton existierten. Die Dissertation konzentriert sich sowohl auf die Theorien des Filmtons als auch auf die Praktiken, wobei es sich unter anderem auf Dziga Vertov, Nikolai Ekk, Michail Cechanovskij und Pavel Tager bezieht. Die Begriffe „Asynchronizität“ und „Synchronizität“ haben in den Debatten über die Einführung des Tonfilms in der Sowjetunion eine zentrale Rolle gespielt. Die vorliegende Dissertation bietet die erste grundlegende Untersuchung dieser Begriffe innerhalb des Kontextes der komplexen Ursprünge des frühen sowjetischen Tonfilms. / The dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms “asynchronicity” and “synchronicity” were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.

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The aim of this thesis is to analyze the establishment and development of lectureships in the Swedish language in German universities during the first half of the 20th century. Building on earlier research about the role of language teaching abroad for public diplomacy, the study sees the lecturer as a part of both the the academic and political fields in Germany and Sweden. The establishment of and changes in the system of lectureships in Swedish 1906–1945 are explained through an analysis of the actors involved and of the assets allowing the actors to control both the establishment of lectureships and the appointment of lecturers in Germany. During the Weimar Republic a number of actors were involved in the establishment of the lectureships. They included academics with a scholarly interest in Scandinavian languages and old Norse,, the German state, which worked to promote the study of foreign countries and interna­tional academic mobility as a way of breaking German isolation after World War I, and the Swedish organization for the preservation of Swedishness abroad for which the teaching of Swed­ish abroad was a way of increasing the academic status of the language. After the National Social­ist takeover in 1933 the NSDAP and the Swedish foreign ministry also took an interest in the Swedish lectureships in Germany for propaganda purposes. The dissertation shows how a system for the appointment of Swedish lecturers to Germany was established through interaction between the actors. Central in this process were the control over economic assets, a social network which made recommendations of lecturers possible, and the control over communication between both the lecturers and universites and between the German and Swedish states. The study also shows that the uneven distribution of assets between German and Swedish actors resulted in an inferior position for the German state and organizations in relationship to their Swedish counterparts.

O recorte temporal deste trabalho - 1993 a 2013 - deve sua data inicial ao fato de o começo dos anos 1990 ter sido o momento de um primeiro ciclo da Reforma Urbana e das primeiras discussões de Planejamento Estratégico no Brasil. A despeito da discussão que ocorria do Rio de Janeiro, cujo discurso continha a necessidade de resgate de identidade citadina e tudo o mais a ele associado, a discussão estratégica, de forma geral, se deu de forma direta, repetindo a fala de um de seus idealizadores, Jordi Borja. Segundo a mesma, a ´cidade global´ necessita se mostrar competitiva no cenário econômico para atrair investimentos. À época já havia uma gama de administradores e gestores públicos, de técnicospolíticos e de arquitetos e outros profissionais que lidam com a cidade, seduzida pelo diagnóstico da globalização e da parceria cidade global/planejamento estratégico. A pesquisa explicita o reflexo deste tipo de pensamento por meio do qual a cidade é uma mercadoria passível de venda - objetivo final do city marketing desenvolvido desde então - em uma cidade de porte médio como Ribeirão Preto, aderindo a discussões sobre as Políticas Públicas na área da Cultura, vistas também como fonte para este pensamento. Além disso, tem-se como objetivo, por meio do recorte temporal de 1993 - início da primeira gestão do prefeito Antonio Palocci Filho, PT - a 2013 - início da segunda gestão da prefeita Dárcy Vera, PSD -, localizar e questionar o posicionamento do poder público em relação ao empreendedorismo urbano, bem como o resultado físico-espacial das forças nele aplicadas. Estariam a arquitetura e o urbanismo, bem como a arte, apenas subordinados às dimensões econômica e social, tornando-se meros empreendimentos, ou valeria ainda uma discussão que os enquadrasse nas questões referentes à cultura/mercadoria, espetáculo e dinheiro? Qual seria o lugar das intervenções urbanas para a governança urbana no período englobado? O trabalho propõe, assim, um forte questionamento sobre qual a relação entre urbanismo e política cultural, no caso de Ribeirão Preto. A hipótese defendida é a de que o Planejamento Estratégico que intencionou-se aplicar à cidade de Ribeirão Preto no início da década de 1990 - por meio do Projeto Ribeirão Preto 2001 - Ação Estratégica para o Desenvolvimento e das Parcerias Público - Privadas, à imagem de Atlanta [EUA] - ainda vigora, de forma virtual e não declarada, apesar da mudança de governo. Observamos, ainda, um discurso extremamente embasado na competitividade, empreendedorismo e governança urbanos direcionados pela acumulação flexível do capital. A cultura torna-se, assim, um objeto mercadológico - e, portanto, autonomizado - ainda incipiente, mas promissor, visto que necessário à inserção da cidade na lógica cultural do capitalismo tardio especialmente devido às características da região administrativa da qual Ribeirão Preto seria municípiopolo. O trabalho retoma, assim, planos antigos e até o momento não devidamente contrapostos - ou sobrepostos -, trazendo à luz o caminho percorrido para chegarmos aqui, bem como lança perspectivas a respeito dos processos de urbanização e cultura em Ribeirão Preto. / Period of this work - 1993 to 2013 - owes its initial date to the fact that the beginning of the nineties was the moment of the first cycle of the Urban Reform and of the first discussions about Strategic Planning in Brazil. Regarding the discussion that was taking place in Rio de Janeiro, whose discourse contained the need to rescue the city identity and everything else associated to it, the strategic discussion, generally, occurred in a direct manner, repeating the line of one of its creators, Jordi Borja. According to it, the \"global city\" needs to show itself as competitive in the economic scenario to attract investments. By that time, there were already a range of administrators and public managers, technic-politicians and architects, and other professionals that deal with the city, seduced by the diagnosis of globalization and by the partnership global city/strategic planning. This research explains the reflex of this kind of thinking wherewith the city is a salable merchandise - final goal of the city marketing developed since then - in a medium-sized city like Ribeirão Preto, adhering to the discussions about the Public Policies in the field of Culture, also seen as a source to this thinking. Besides that, another objective of this work is, through the period from 1993 - beginning of the first term of the mayor Antonio Palocci Filho, PT - to 2013 - beginning of the second term of the mayor Dárcy Vera, PSD -, to localize and question the position of the government regarding the urban entrepreneurship, as well as the physic-spatial result of the forces applied to it. Would architecture and urbanism, as well as the art, be only subordinated to the economic and social dimensions, becoming mere developments? Alternatively, would still worth a discussion that placed them in issues regarding culture/merchandise, entertainment and money? What would be the place of urban interventions to the urban governance in the studied period? Therefore, this work proposes a strong questioning about what is the relation between urbanism and cultural policy, in the case of Ribeirão Preto. The hypothesis is that the Strategic Planning that one intended to apply to the city of Ribeirão Preto in the beginning of the 90s - through the Projeto Ribeirão Preto 2001 - Ação Estratégica para o Desenvolvimento and the Public-Private Partnerships, to the image of Atlanta [USA] - is still in force, in a virtual and non-declared manner, despite the change of government. We observe, still, a discourse extremely grounded in competitiveness, entrepreneurship and urban governance directed by the flexible accumulation of the capital. Culture becomes, then, a marketing object and, therefore, independent still incipient, but promising, since necessary to the insertion of the city in the cultural logic of the late capitalism, especially due to the characteristics of the administrative region which Ribeirão Preto would be hub municipality. This work resumes old plans not duly opposed or overlapped until the moment, bringing to light the path chosen to get here, and launches prospects regarding the processes of urbanization and culture in Ribeirão Preto.

O recorte temporal deste trabalho - 1993 a 2013 - deve sua data inicial ao fato de o começo dos anos 1990 ter sido o momento de um primeiro ciclo da Reforma Urbana e das primeiras discussões de Planejamento Estratégico no Brasil. A despeito da discussão que ocorria do Rio de Janeiro, cujo discurso continha a necessidade de resgate de identidade citadina e tudo o mais a ele associado, a discussão estratégica, de forma geral, se deu de forma direta, repetindo a fala de um de seus idealizadores, Jordi Borja. Segundo a mesma, a ´cidade global´ necessita se mostrar competitiva no cenário econômico para atrair investimentos. À época já havia uma gama de administradores e gestores públicos, de técnicospolíticos e de arquitetos e outros profissionais que lidam com a cidade, seduzida pelo diagnóstico da globalização e da parceria cidade global/planejamento estratégico. A pesquisa explicita o reflexo deste tipo de pensamento por meio do qual a cidade é uma mercadoria passível de venda - objetivo final do city marketing desenvolvido desde então - em uma cidade de porte médio como Ribeirão Preto, aderindo a discussões sobre as Políticas Públicas na área da Cultura, vistas também como fonte para este pensamento. Além disso, tem-se como objetivo, por meio do recorte temporal de 1993 - início da primeira gestão do prefeito Antonio Palocci Filho, PT - a 2013 - início da segunda gestão da prefeita Dárcy Vera, PSD -, localizar e questionar o posicionamento do poder público em relação ao empreendedorismo urbano, bem como o resultado físico-espacial das forças nele aplicadas. Estariam a arquitetura e o urbanismo, bem como a arte, apenas subordinados às dimensões econômica e social, tornando-se meros empreendimentos, ou valeria ainda uma discussão que os enquadrasse nas questões referentes à cultura/mercadoria, espetáculo e dinheiro? Qual seria o lugar das intervenções urbanas para a governança urbana no período englobado? O trabalho propõe, assim, um forte questionamento sobre qual a relação entre urbanismo e política cultural, no caso de Ribeirão Preto. A hipótese defendida é a de que o Planejamento Estratégico que intencionou-se aplicar à cidade de Ribeirão Preto no início da década de 1990 - por meio do Projeto Ribeirão Preto 2001 - Ação Estratégica para o Desenvolvimento e das Parcerias Público - Privadas, à imagem de Atlanta [EUA] - ainda vigora, de forma virtual e não declarada, apesar da mudança de governo. Observamos, ainda, um discurso extremamente embasado na competitividade, empreendedorismo e governança urbanos direcionados pela acumulação flexível do capital. A cultura torna-se, assim, um objeto mercadológico - e, portanto, autonomizado - ainda incipiente, mas promissor, visto que necessário à inserção da cidade na lógica cultural do capitalismo tardio especialmente devido às características da região administrativa da qual Ribeirão Preto seria municípiopolo. O trabalho retoma, assim, planos antigos e até o momento não devidamente contrapostos - ou sobrepostos -, trazendo à luz o caminho percorrido para chegarmos aqui, bem como lança perspectivas a respeito dos processos de urbanização e cultura em Ribeirão Preto. / Period of this work - 1993 to 2013 - owes its initial date to the fact that the beginning of the nineties was the moment of the first cycle of the Urban Reform and of the first discussions about Strategic Planning in Brazil. Regarding the discussion that was taking place in Rio de Janeiro, whose discourse contained the need to rescue the city identity and everything else associated to it, the strategic discussion, generally, occurred in a direct manner, repeating the line of one of its creators, Jordi Borja. According to it, the \"global city\" needs to show itself as competitive in the economic scenario to attract investments. By that time, there were already a range of administrators and public managers, technic-politicians and architects, and other professionals that deal with the city, seduced by the diagnosis of globalization and by the partnership global city/strategic planning. This research explains the reflex of this kind of thinking wherewith the city is a salable merchandise - final goal of the city marketing developed since then - in a medium-sized city like Ribeirão Preto, adhering to the discussions about the Public Policies in the field of Culture, also seen as a source to this thinking. Besides that, another objective of this work is, through the period from 1993 - beginning of the first term of the mayor Antonio Palocci Filho, PT - to 2013 - beginning of the second term of the mayor Dárcy Vera, PSD -, to localize and question the position of the government regarding the urban entrepreneurship, as well as the physic-spatial result of the forces applied to it. Would architecture and urbanism, as well as the art, be only subordinated to the economic and social dimensions, becoming mere developments? Alternatively, would still worth a discussion that placed them in issues regarding culture/merchandise, entertainment and money? What would be the place of urban interventions to the urban governance in the studied period? Therefore, this work proposes a strong questioning about what is the relation between urbanism and cultural policy, in the case of Ribeirão Preto. The hypothesis is that the Strategic Planning that one intended to apply to the city of Ribeirão Preto in the beginning of the 90s - through the Projeto Ribeirão Preto 2001 - Ação Estratégica para o Desenvolvimento and the Public-Private Partnerships, to the image of Atlanta [USA] - is still in force, in a virtual and non-declared manner, despite the change of government. We observe, still, a discourse extremely grounded in competitiveness, entrepreneurship and urban governance directed by the flexible accumulation of the capital. Culture becomes, then, a marketing object and, therefore, independent still incipient, but promising, since necessary to the insertion of the city in the cultural logic of the late capitalism, especially due to the characteristics of the administrative region which Ribeirão Preto would be hub municipality. This work resumes old plans not duly opposed or overlapped until the moment, bringing to light the path chosen to get here, and launches prospects regarding the processes of urbanization and culture in Ribeirão Preto.

En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiques. / Photography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts.

by Chan Wai Yin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 165-171). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.iii / List of tables --- p.viii / List of abbreviations --- p.ix / Chapter 1 --- Introduction --- p.1 / The Research Case --- p.2 / The Puzzle --- p.4 / Methodology --- p.6 / Outline of the Thesis --- p.8 / Chapter 2 --- Intergenerational Non-investment-inducing Public Goods and the State --- p.11 / National and Cultural pride as an Intergenerational Non-investment- inducing Public Good --- p.11 / The Nature of the State --- p.19 / Good State --- p.20 / """Neutral"" State" --- p.22 / Bad State --- p.24 / Chapter 3 --- China as an Entrepreneurial State --- p.33 / State Administration in China --- p.33 / Central-local Fiscal Relations from a Historical Perspective --- p.41 / Fragmented State Perspective --- p.45 / Entrepreneurial State Perspective --- p.47 / Public Choice's Critiques --- p.58 / China as an Entrepreneurial State: Revised --- p.66 / Chapter 4 --- Archaeological Protection in China --- p.68 / Archaeological Protection in Democratic Countries --- p.68 / National Laws and Regulations of Archaeological Protection in China --- p.75 / Difficulties Encountered in Archaeological Protection --- p.87 / Chapter 5 --- Preservation of the Relics of the Nanyue Kingdom in Guangzhou --- p.94 / The City of Guangzhou --- p.94 / Regulations on the Protection of the Cultural Relics in the Guangdong Province and Guangzhou --- p.96 / Archaeological Protection in Guangzhou --- p.99 / The Preservation of the Royal Relics of the Nanyue Kingdom --- p.101 / Chapter 6 --- The Political Logic of Preserving Cultural Legacy --- p.118 / Identifying the Individual Actor: Mayors of Guangzhou --- p.119 / Chinese Officials as a Political Actor --- p.121 / Establishing a Modern Civil Service --- p.122 / A Performance-based Civil Service --- p.126 / The Political Logic of Preservation of Cultural Legacy in Guangzhou --- p.133 / Chapter 7 --- Conclusion --- p.146 / The Provision of Intergenerational Non-investment-inducing Public Goods --- p.146 / Public Choice Theory and the Entrepreneurial State Perspective --- p.148 / Reflections on the Study of Chinese Politics --- p.158 / Limitations of the Study --- p.161 / Bibliography --- p.165

Depuis 2004, le Maroc a opté pour des partenariats public-privé pour augmenter le nombre de productions cinématographiques, et le montant budgétaire de quelques productions dans l’espoir d’avoir des films à haute qualité internationale. Dix ans après, le nombre des films produits est en augmentation devant un déclin du nombre de salles suite à la baisse des recettes. Devant ce constat, il devient nécessaire d’évaluer les projets choisis pour ce Partenariat, leurs sorties commerciales et par conséquent du travail du centre cinématographique représentant l’Etat, et de ses diverses commissions qui sélectionnent les films. Cette thèse évalue ces films produits en partenariat avec l’Etat en suivant la méthode d’analyse SWOT pour chacun des films bénéficiant de ce PPP. Chaque deux ans, la commission qui choisit les films produits en partenariat, est renouvelée. Cette commission, désignée par le ministre de tutelle, vient en grande partie de milieux politiques, ou idéologiques qui affecteront leurs choix des thématiques et aussi des traitements des histoires. Une synthèse des analyses SWOT des films choisis lors de chaque commission permet l’évaluation de son travail. Une synthèse générale des résultats des dix ans permet d’évaluer le dispositif en lui-même, le mode et les critères de sélection. Dans cette thèse, nous allons aussi investiguer le travail de l’Etat via le CCM pour remédier à ce constat, et les résultats des actions entreprises.En effet, mettre l’accent sur les obstacles handicapant les productions bénéficiant du PPP, permettrait une meilleure réorganisation des structures de ce fonds de Partenariat pour réussir les productions futures. Pour ce, après l’étude d’autres modèles de politiques culturelles cinématographiques de pays qui ont mieux réussi les sorties des films, cette thèse présente des propositions de restructuration du fonds de soutien au cinéma au Maroc. / Since 2004, the Moroccan government launched public-private partnerships (PPP) to increase the number of film productions, and leverage up the corresponding budgets in the aim for higher film and media quality. Ten years later, the number of films produced has increased, yet the gross income has dropped down, along with the number of movie theaters. In regard to the listed outcomes, reviewing the projects selected to benefit from state financial support, as well as the film release campaigns, and consequently the work of the Moroccan Cinematographic Center (CCM), the state Agency in charge of the selection and financial support of film projects, became an urgent necessity. The present thesis aims to evaluate the films produced in partnership with the State, based on a SWOT analysis method.The commission in charge of the film selection for the PPP support is renewed every two years. The ministry of communication and culture based on different criteria appoints this commission’s members. Among these criteria are the political and ideological beliefs, which indirectly influence the choice of the theme and the movie project to pick and put up front for the PPP sponsorship program.A summary of the two years' period SWOT analysis for the selected films helps evaluate the commission’s work. A more in depth study over the past ten years, yields a synthesis of the SWOT results for each of the movie projects reviewed. This synthesis allowed questioning the criteria, and the process of selection used by the CCM and thus the quality of its work. The present thesis will consequently, investigate the effectiveness of this state agency and highlight the corrective actions implemented by the state to remediate to the actual situation, then conclude with the results of these actions.Evaluating the Strengths, weaknesses, threats and opportunities of each and every film project as whole will certainly enable a better organization of the state funding, and thus help future productions success, making the funding purpose come true. Based on the study of several successful models in different countries, this thesis, suggests a new strategy to restructure the film support fund in Morocco, in order for a better commercial outcome of the film industry in Morocco.