The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.

[pt] Esta pesquisa investiga o cinema realizado por Alberto Cavalcanti, sua herança e a presença de traços conceituais e estéticos de sua obra na cinematografia italiana do pós-guerra. Existem duas características centrais que indicam similaridades entre o cinema realizado por Cavalcanti e o Neorrealismo: a priori, os aspectos sociais e poéticos intensos de seu trabalho, principalmente em sua fase francesa, em filmes como Rien que les heures (1926) e, mais tarde, mais explicitamente no cinema documental inglês em filmes como Coalface (1935). E a posteriori, o fato de Cavalcanti romper com as fronteiras entre documentário e ficção, desde de Rien que les heures e , sobretudo, na sua fase na General Post Office Film Unit. A partir dessas premissas, será possível uma análise das raízes do cinema moderno, historicamente creditadas ao Neorrealismo Italiano. / [en] This research investigates the films of Alberto Cavalcanti, his heritage and role as an aesesthetic pioneer in the post world war II era that preceded modern cinema. There are two main characteristics that indicate that his role in the neorrealistc movement was much more important than has previously been considered. First of all the intense social and poetic aspects of his work, primarily in his French phase, in films such as Rien que les heures (1926), and later more explicitly in English documentaries such as Coalface (1935). Cavalcanti dissolved the borders between documentary and fiction starting with his production of Rien que les heures and continuing through his entire involvement with General Post Office Film Unit. Beginning with these premises an analysis of the roots of modern cinema, historically credited to the Italian neo realism movement will be possible.

"Legacy of Love" follows four members of the Dallas LGBTQA+ community and shows their perspectives on the community's past, present and future, focusing on the community has accomplished so far, and the work, especially related to race, that lies ahead.

This study aimed to contest political and cultural stereotypes depicted through the verbal and audio-visual languages used to represent the Rwandan genocide in the films, A Good Man In Hell(2002), Hotel Rwanda(2004), Sometimes In April(2005) and Keepers of Memory(2004). A Good Man in Hell criticised the racism that influenced the international community not to help Rwandans stop the genocide. In Hotel Rwanda, mostly the Tutsis died during the genocide of 1994. Sometimes in April revealed that the Hutu middle class engineered the genocide. Keepers of Memory depicted the gendered nature of the language of genocide and showed that women were silenced at various levels. The films partially succeeded in depicting the Rwandan genocide because the films did not sufficiently foreground the socio-economic factors that created the conditions for genocide to happen. The study suggested that future research on film representations could compare and contrast cases of genocide in Africa. / English Studies / Thesis ( MA (African Languages))

My Master of Fine Arts thesis film is a 60-minute film that blends documentary and feature film elements entitled Who Is Singing There. It’s a story about Totem, a rock band formed seven years ago. Right before it was to release its second album, lead singer Suming and drummer A-shing were determined to leave the group. Band members held a meeting to work out a solution. Before they knew it, however, they were reminiscing about the time they took part in music competitions in from 2003 to 2005. They realized that the root to why they were coming apart could be traced back to that time and if they wanted the band go any further, they needed not only to rekindle their passion for music but something more. This is an account of the filmmaking process from the initial idea to the finished film. / text

Synopsis As soon as the fingers of the French accordionist, and of the two Taiwanese harpist and pipa player start to run on their instruments the different melodies influenced by each of their culture, the audience is immersed in the multicultural atmosphere set by the collaboration between the two puppet companies. In front of the public stands a box, reminding the traditional tool of puppeteers, but this very box is a massive one of 4 meters on 4 meters. On left and right side of it, three Taiwanese and their puppets and three French and their puppets. As they are walking around the box so as to express the distance they cross, they finally meet. Then on start a Shakespearian love story, and a friendship grows between the 6 puppeteers. The box, fixed on a rolling structure, rotates on itself and gives each time the audience the occasion to see a new face of it, a new part of the plot, new interactions between actors, as well as new elements of each countries’ puppet tradition. This documentary follows the thread of “The Box” from besides the coulisse’s curtains of this one year long collaboration between the French Puppet Company “Les Zonzons” with the Taiwanese “Taiyuan” Company. Following the chronology of their collaboration, traveling back and forth from Taipei to Lyon for Guignol’s 200 years birthday and back to Taipei for the Art Festival, the film will not only shows parts of the live representations and their rehearsals, but also it tries to give audience the occasion to grasp more understandings on those two old puppet’s traditions. Beyond this introduction, the film also questions the current state of both Puppet Theater and the problem of transmission of these traditions. Meantime, through relating this artistic co-realization where puppets play somehow a mediating role, a kind of ‘bridge’ of reflection, creation, communication and respect between those two companies with differences of life and lifestyle, way of thinking, environment, language, code, etc, this film evokes the issue of intercultural dialogue. As a mirror of the play it presents, and trying to get out from the usual clichés of portraits made on both culture, this non-fictional film depicts an encounter between people from these two cultures and tries to give some insights on the exchanges and the process of mutual understanding that underlie beneath. Keywords: intercultural communication; intercultural awareness; intercultural performance; exchanges of knowledge; transmission of traditions; documentary film; non-fiction film. － 片名：（法文）En chair et en bois （英文）In flesh and wood － 型態、規格 ： 紀錄片； DV － 長度：77分鐘

This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.

Healthcare education is continually evolving to reflect therapeutic advances in patient management. Society demands assurances regarding the ongoing competence of HCPs including pharmacists. The use of OSCEs to evaluate competence of medical staff as well as nurses is well documented in the literature however evidence of its use with undergraduate pharmacy students is still sparse.

Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.

"Mémoire présenté à la faculté des études supérieures en vue de l'obtention du grade de Maîtrise en droit des affaires (LL.M)" / Le commerce international ne cesse de se développer avec l'évolution des technologies de l'information de nos jours. Le crédit documentaire, qui est un instrument de règlement du prix de prestations commerciales entre un vendeur exportateur et un acheteur importateur, fait partie du domaine touché par l'évolution électronique. C'est la raison pour laquelle la Chambre de commerce international de Paris a adopté récemment le Guide sur le crédit documentaire informatisé (eRUU), supplément aux règles et usances uniformes (les RUU 500) appliqué aux crédits documentaires. Le crédit documentaire doit être basé sur une grande confiance et une énorme sécurité. Ainsi, la fraude nuit au principe de l'autonomie de la lettre de crédit et détruit le besoin de sécurité qu'elle engendre. Les divergences relatives à certains critères de la fraude et la délimitation des obligations de la banque dans la vérification des documents sur support papier sont assez complexes pour les commerçants internationaux et pour les banques. Et même si la dématérialisation des documents a tendance à diminuer la fraude en la matière, le crédit documentaire dématérialisé serait encore loin d'être réalisé sans difficultés, avec l'émergence directe des tiers dans l'opération. Son analyse exhaustive doit donc continuer sur le plan doctrinal. La délimitation du devoir de la banque dans la recherche de cette fraude électronique, et dans le paiement des documents électroniques deviendrait aussi discutable que celle dans le crédit documentaire traditionnel. Les banques devraient, entre autres, être sensibilisées sur la nécessité de prendre dans les meilleurs délais certaines dispositions, pour permettre à la clientèle des entreprises d'effectuer des présentations ou des réceptions électroniques des documents de la lettre de crédit en conformité avec le règlement eUCP. / The international trade does not cease developing with the evolution of information technology nowadays. The documentary credit, which is an instrument of payment of the price of commercial services between an exporting salesman and an importing purchaser, is part of the field touched by the electronic evolution. This is why the international Chamber of Commerce of Paris recently adopted the Guide on the computerized letter of credit (eRUU), supplement to the Uniform Customs and Practice for Documentary Credit (RUU 500). The letter of credit must be based on a great confidence and an enormous safety. Thus, the fraud harms the principle of the autonomy of the letter of credit and destroyes the need for safety which it generates. The divergences relative to certain criteria of the fraud and the delimitation of the obligations of the bank in the checking of the documents on paper medium are complex enough for the international tradesmen and the banks. And even if the dematerialization of the documents tends to decrease the fraud on the matter, the dematerialized credit on security would be still far from being carried out without difficulties, with the direct emergence of the thirds in the operation. Its exhaustive analysis must then continue on the doctrinal level. The delimitation of the duty of the bank in the search for this electronic fraud, and in the payment of the electronic documents would become as debatable as that in the traditional documentary credit. The banks would have to be somewhat sensitized on the need for making certain provisions as soon as possible, to allow companies' customers to carry out presentations or electronic receptions of the documents of the letter of credit in conformity with the eUCP.