<p>This thesis deals with export payment. Different payment methods that can be used in order to receive and secure payment when conducting international trade are analysed, and relevant risks and problems are examined. Particular focus is given to export trade with China.</p><p>International trade offers great possibilities for companies, but also risks. There are several risks that should be taken into consideration, for instance the political risk, the exchange risk and the commercial risk. The commercial risk is the seller’s risk of non-payment or late payment and the buyer’s risk of non-delivery or faulty delivery</p><p>Over the last decades the Chinese market has gone through considerable changes and today it is one of the world’s most important markets. The commercial risk is sometimes feared when doing business in China. This is because statements have been made claiming that Chinese buyers are somewhat untrustworthy payers.</p><p>Payment is an essential part of all trade transactions. There are a number of payment methods that can be used in order to receive and secure international payment. Which payment method that should be used depends on the circumstances of the transaction. The documentary credit is a frequently used payment method in interna-tional trade. It offers the exporter security of payment because at least one bank adds its promises to pay.</p> / <p>Denna uppsats behandlar betalning vid export. Olika betalningsmetoder som kan användas för att erhålla och säkerställa betalning analyseras, och relevanta risker och problem studeras. Uppsatsen är särskilt inriktad på Kina.</p><p>Internationell handel medför många möjligheter för företag, men också en ökad risk. Hänsyn måste tas till bland annat den politiska risken, valutarisken och den kommersiella risken. Den kommersiella risken är risken att betalning eller leverans inte sker i enlighet med vad som har avtalats.</p><p>Den kinesiska marknaden har under de senaste årtiondena genomgått en omfattande förändring, och idag är den en av världens viktigaste marknader. Den kommersiella risken är ibland befarad vid kinesisk handel. Detta beror på att det finns en uppfattning att kinesiska köpare ibland kan vara osäkra betalare.</p><p>Betalning är en viktig del av alla handelstransaktioner. Det finns ett antal betalningsmetoder som kan användas för att erhålla och säkerställa internationell betalning. Vilken metod som bör användas beror på omständigheterna vid handelstransaktionen. Remburs är en betalningsmetod som är vanligt förekommande vid internationell handel. Metoden ger exportören betalningssäkerhet eftersom minst en bank garanterar betalningen.</p>

Thesis (M.F.A.)--Mississippi State University. Department of Art. / Accompanying digital video (mini DV), VHS format, is a copy of the edited documentary, "Crew 19," with a running time of 35 minutes. Accompanying CD-ROM, "384th Bomb Group, Inc.," includes related website and URL. Slides includes screen captures from the website and images from the video. Includes bibliographical references (leaves 19-21).

This report outlines the creation of my thesis project “The Revolutionaries: An Untold History of Freedom” from concept to completed film. The Revolutionary Movement was an underground militant movement in pre-independent India which sought to overthrow the British government by force. The film interleaves the interview of an elderly ex-Revolutionary with a high-level history of this mostly-forgotten underground movement. / text

"My Sister Sarah" is a 25-minute long documentary film about my sister, Sarah Chatelain, a recovering methamphetamine addict from Fargo, North Dakota. Utilizing a combination of family home videos, Super 8 film and verité footage of Sarah's contemporary life, "My Sister Sarah" relates Sarah's journey with drug addiction from childhood through recovery. This report contains the process of creating the film: its inception, production and completion. / text

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This dissertation investigates the social world of contemporary filmmakers in the Middle East and the way they use visual media to re-imagine existent forms of identity, envision new modes of social agency, and transform public culture in the face of dramatic instability. In the wake of the Lebanese civil war and through the tenuous postwar period, video art and experimental documentary have critiqued the politics of representation and negotiated the theoretical and structural difficulties in representing the war. These artists have activated intersections where experimental media has generated a vibrant visual culture by both building on local notions of cosmopolitanism and by participating in transnational sites of postcolonial representation. Methodologically, I employ ethnography to grapple with the public culture of Beirut as a site of avant-garde experimentation, but also to examine the city as a contested site affected by periods of rapid growth, intense violence, and urban reconstruction. To explain this cultural phenomenon, I advance the idea of 'post-orientalist aesthetic' to describe a mode of intellectual critique and artistic style that goes beyond Edward Said's critique to give greater attention to self-representation in the post-911 period. This aesthetic interrogates western representational practices and also develops a localized critical analysis of Middle Eastern visual culture. This aesthetic informs a better understanding of postwar subjectivity, particularly in the way memory and lived experience becomes mediated through the materiality of objects, images, and architecture affectively inscribed with destruction and violence. The notion of the archive or the personal collection becomes of particular interest here; especially in the way these artifacts embody personalized narratives and testimonials that push back from abstracted notions of a monolithic historical narrative. Drawing on visual anthropology, media ethnography, and nonwestern film theory, this text examines the way these artists challenge realist modes of representation by utilizing both ethnographic and artistic approaches to grapple with the experience of everyday violence. In order to explore methodologies for conducting visual research in conflict zones, I conclude with an experimental auto-ethnography that appropriates these aesthetics in an effort to interrogate my positionality as an American researcher in the Middle East. / text

A trustworthy record is one that is both an accurate statement of facts and a genuine manifestation of those facts. Record trustworthiness thus has two qualitative dimensions: reliability and authenticity. Reliability means that the record is capable of standing for the facts to which it attests, while authenticity means that the record is what it claims to be. The trustworthiness of records as evidence is of particular interest to legal and historical practitioners who need to ensure that records are trustworthy so that justice may be realized or the past understood. Traditionally, the disciplines of law and history have relied on the guarantee of trustworthiness inherent in the circumstances surrounding the creation and maintenance of records. For records created by bureaucracies, that trustworthiness has been ensured and protected through the mechanisms of authority and delegation, and through procedural controls exercised over record-writers and record-keepers. As bureaucracies rely increasingly on new information and communication technologies to create and maintain their records, the question that presents itself is whether these traditional mechanisms and controls are adequate to the task of verifying the degree of reliability and authenticity of electronic records, whose most salient feature is the ease with which they can be invisibly altered and manipulated. This study explores the evolution of means of assessing the trustworthiness of records as evidence from antiquity to the digital age, and from the perspectives of law and history; and examines recent efforts undertaken by researchers in the field of archival science to develop methods for ensuring the trustworthiness of electronic records specifically, based on a contemporary adaptation of diplomatics. Diplomatics emerged in the seventeenth century as a body of concepts and principles for determining the authenticity of medieval documents. The exploration reveals the extent to which legal, historical, and diplomatic methods operate within a framework of inferences, generalizations and probabilities; the degree to which those methods are rooted in observational principles; and the continuing validity of a best evidence principle for assessing record trustworthiness. The study concludes that, while the technological means of assessing and ensuring record trustworthiness have changed fundamentally over time, the underlying principles have remained remarkably consistent.

This dissertation formulates a poetics of performance in nonfiction film and television. Building on a large body of converging research that calls for an acknowledgment of: the constructedness of documentary texts; the performative nature of identity; and the significance of screen performance, I illustrate the way in which documentary subjects must finally be seen as creative agents who (consciously or not) play a significant role in determining the meanings, functions, and effects of the films in which they appear. A first chapter lays the groundwork for this discussion, setting out a means of understanding and investigating the documentary performer’s work. It is argued that nonfiction performance is a three-tiered process, wherein everyday performative activity (tier #1) is shaped by and often tailored to the camera (tier #2) within specific nonfiction film frameworks (tier #3). In addition to providing a flexible and generally applicable model of what the nonfiction subject’s work entails, this conceptualization suggests an appropriate means of analysing individual documentary performances, indicating the necessity of attending to the way in which twice modified everyday self-presentational tools serve as signifiers in any given nonfiction text. Subsequent chapters turn from the issue of what nonfiction performance involves to a consideration of what it accomplishes. Drawing from scholarship devoted to each of the three levels of the documentary ‘social actor’s’ work, I posit three major functions for nonfiction performance. Chapter 2 demonstrates the way in which the individuals who appear in documentaries play a significant role in the construction of ‘characters’, which, in turn, exert an indelible influence on the meaning(s) of the texts in which they figure. Chapter 3 argues that nonfiction performance helps to bolster and/or to destabilize normative understandings of identity categories such as gender, sexuality, age, ethnicity, race, class and dis/ability. Finally, the concluding chapter discusses the way in which documentary performers help to invite affective reactions from spectators, and – in so doing – contribute significantly to nonfiction texts’ ability to effectuate social change. Detailed analyses of a wide range of documentaries provide support for these contentions.

Diplominiame darbe „Eksperimentinis dokumentinis filmas“, nagrinėjama kaip dokumentinis kino žanras, perteikia realybę ekrane, kiek tiksliai ir nuosekliai dokumentiniai filmai sugeba fiksuoti realų gyvenimą. Dokumentinio žanro pakilimas, prasidėjo nuo XXI a. ir žengė koja kojon su dokumentalumo stiprėjimu šiuolaikiniame mene. Tai nurodo bendrumą tarp videomeno ir dokumentinio kino žanro. Menininkai norėdami išplėsti dokumentinio kino reprezentacijos rėmus pradėjo eksperimentuotu su dokumentinio kino raiška. Eksperimentai videomene ir dokumentiniame kine prasideda nuo bendro pagrindo – dokumentinio kino kalbos. Videomeninkai naudodami dokumentinio kino kalbas, sukuria realistinę atmosferą savo filmuose, eksperimentuodami menininkai nori pasakyti, kad ne tik standartinė dokumentinio kino raiška gali atspindėti realybę. Dokumentiniame videomene eksperimentės strategijos yra dokumentalumo sampratos laužymas ir kvestionavimas. Diplominiame darbe siekiama išanalizuoti videomeninkų eksperimentus su dokumentinio kino kalba ir kaip baigiamą rezultatą sukuti eksperimentinį dokumentinį filmą apie emigrantę iš Lietuvos. / Work "Experimental documentary film", examines how the documentary film genre, record and represent the reality on the screen, as an objective documentary shots may reflect real life. Strengthening of a documentary genre that began in the twenty-first century, entered and was held in conjunction with documentary brightening discourse in contemporary art. It encourages the consideration of video art and documentary genres in close contact. While artists can‘t fit representation in documentary film frames, experiment with the documentary film resolution and try to expand. Experimental video art and documentary cinema took off from the same ground - a documentary film language, it has become a constant of real representation on the screen. Video artists taking over the documentary film strategies, wants to create a realistic atmosphere of his films, with experiments artists wants to update the definition of documentary, through an extraordinary visual material, as the documentary shots, who pretends to be a direct reflection of reality, also mediated images. My work aims to analyze video artists experiments with language and as a culminating result create documentary film about the emigration from Lithuania.

Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)