Global ETD Search

31	The Cinematisation of Computer and Console Games : Aesthetic and Commercial Convergence in the Film and Game Industries Majek, Dee January 2011 (has links) This thesis examines the growing trend of cinematisation in computer and console games, where both visual styles and industrial practices are concerned. The ever-increasing runtime of cinematic cutscenes in games, and the stylization of game graphics in accordance with established film genres are of primary focus regarding the gaming industry's absorption and interpretation of cinematic visuals. Comparisons of film-game convergence are based on the proliferation of non-gameplay promotional trailers and their role in hype-generation; as well as game producer strategies of franchising, cross-promotion, and initial-sales business model. Comparison is thus accomplished with regards to a number of fundamental similarities in both industries' business and commercial tactics, as stemming from the risk and reward-based investment financing system prevalent in both industries. Finally, a selection of user and industry professional video responses to the aforementioned trends are examined, both for their value in counter-balancing the assumptions of success which often follow staggeringly high initial sales figures; and for their value in layering the depth of film-game convergence even further, as they respond to the recent, filmic trends in games using the very language of film. Games film convergence game industry film industry game developers game publishers pre-release hype marketing franchising promotional trailers risk and reward hardcore mainstream aesthetic cut-scenes cinematic transitional chasm EA Activision BioWare CD Projekt Call of Duty Dark Souls
32	論歐盟競爭法對技術授權協議集體除外制度之改革陳信宏 Unknown Date (has links) 2004年4月，歐盟執委會頒佈了新的「技術授權協議集體除外規則」及其「指導原則」，以取代1996年開始實施的舊規則。這個規則係在規範技術授權行為於歐體條約第81條下之合法性。其改革所代表的意義，主要則體現於兩個層面。其一，本次改革顯示了歐盟官方對於智慧財產權與競爭政策之關係的態度。其二，則是涉及到歐體競爭法之集體除外制度，乃至於競爭法本身如何更驅現代化的發展軌跡。以前者而言，歐體競爭法在執法思考上傾向於更加尊重智慧財產權之行使；就後者而言，則不論是在競爭規範或執法上，均更強調經濟導向的思維模式。尤其在集體除外規則中設計了以市占率為門檻之安全區制度，將使主管機關更能專注於真正重大限制競爭之案件，並使事業有更大的彈性空間因應日益複雜化的授權實務。在現今全球化的商業實務，授權活動不可避免地將更具跨國性。因此本文的目的，即在於剖析歐盟新的集體除外制度，希冀提供各界參酌。除此以外，並藉由對歐盟新制的探討，回頭檢視我國公平法對於授權活動之規範。尤其，係對照分析公平會技術授權處理原則之規範說明。希望藉由探討歐盟新架構下的規範思考，亦能夠帶給我國規範或執法上一些新的啟發。 / On 7 April, 2004, the European Commission adopted a new Block Exemption Regulation with respect to technology transfer agreements (TTBER) along with some detailed Guidelines. The new Regulation, which replaces the Reg. 240/96, addresses the evaluation on licensing activities under Article 81 of the EC Treaty. This reform shows the official attitude toward the interaction between Intellectual Property Rights and the Competition Law. Moreover, it demonstrates the path of the modernization of Block Exemption Regulations, and also the EC Competition Law itself. This article will illustrate the framework of the new TTBER with comparison to the old one and the U.S. approach. Furthermore, it will survey our position on licensing practices, especially focusing on our “Fair Trade Commission Guidelines on Technology Licensing Arrangements”. Based on the research, a proposed revolution for Taiwan FTC’s measures concerning the licensing activities will be provided at the end of this article. 競爭法技術授權集體除外市占率安全區惡性限制競爭條款 Competition Law Technology Licence Block Exemption Market Share Safe Zone Hardcore Restraint
33	Analýza business modelů v oblasti herního průmyslu / Analysis of business models in the gaming industry Hejcman, Marek January 2012 (has links) The topic of this thesis is to analyze the business models currently used in the gaming industry. The aim is to provide a comprehensive overview of the current economic situation of the industry, distribution channels, used technologies and business practices from the perspective of all market participants. The theoretical part is due to less frequent topic devoted to the description of all entities of gaming industry. It analyzes not only all the actors involved in the development of video games and their subsequent sale but also the technical tools used to play games and also the players themselves. Video games are divided into two main streams (hardcore and casual) which also determine the structure and analysis. The analytical part focuses on capturing the most widely used business models and their combination for the sale of the video games. Models are then categorized into two groups (goods and services) and represent two different approaches to pricing scenarios. For each business model describes the basic principle, its pros and cons, the factors influencing the successful implementation and an example of the use of the model in practice. The analysis also includes the socio-economic profiles of two major market segments. In conclusion, based on the current developments and current trends in the field across the gambling industry the work tries to predict the future development of business models and for video games respectively. the whole industry.
34	Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972 Metz, Daniel Curran 01 November 2010 (has links) “Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text Art house Sexploitation Hardcore Film history Art Sex Film exhibition Movie theatre Brigitte Bardot The Immoral Mr. Teas Art film European art film Ambiguous art film Sex kitten I am curious (yellow) Blow-up Stanton art theatre Lorna I, a woman Censorship Production code Hollywood Little cinema Sure seater
35	Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation Dymek, Mikolaj January 2010 (has links) The video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the significantly older and established cultural industries. After decades of explosive growth the industry surprisingly finds itself in a crisis – in terms of sales, future trajectories and creative paradigms. The global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enigmatic terra incognita with astonishingly little dedicated research. This thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? This study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals. It is followed by an examination and comparison of the game industry with other media/cultural industries in relation to their economy and business dynamics. With inconclusive answers regarding the medium-industry relation, this study proceeds by exploring literary theories from the field of game studies, in order to gain insights into the dynamics of medium and industry. Literary theories from ludology and narratology provide rewarding perspectives on this inquiry, since it is found that the ontological dichotomy of simulation vs. respresentation present in the interpretational realm of the game medium is also reflected in the industry and its dynamics. This has pivotal consequences for the analysis of the game industry. This study concludes by positing the current critical condition of the industry as an extremely decisive moment in its history: will it become a truly universal mass-medium, or will it continue down its subcultural path? Subcultural “interactive cinema” meets mass-cultural media of simulation – how will the industry evolve? / QC20100708 video game industry computer game industry video games computer games cultural industries media industries cultural economy game studies literary theory ludology narratology interactive cinema simulational media ergodic literature cybertext interactive narrative business studies industrial economy hardcore gaming casual gaming subcultural industries Industrial engineering and economy Industriell teknik och ekonomi
36	The importance of counter-culture in art and life Ortlieb, Paulina Elizabeth 03 February 2015 (has links) Punk rock provided not only a watershed of creativity, innovation and a do-it-yourself spirit to a culture saturated in the mainstream, it physically brought like-minded people together in a community, or rather extended family, which in today’s hyper-d.i.y. culture, is progressively declining. As early as the 1940s, theorists such as Adorno and Horkheimer warned us about alienation in a society increasingly dependent on technology. By looking to punk, and other resilient and robust counter-cultures, perhaps we can find solutions to the pitfalls of the ‘culture industry’ (Adorno, Horkheimer, 1944). My thesis, consisting of a feature-length documentary film and textual analysis, is a culmination of: ethnographic research into the punk scene in my own community; theoretical research into the sociology, ethnography and subculture theory; and my own subjectivity. My personal findings are presented to offer insight into punk philosophy and to spur discourse, rather than deliver an objective account or didactic reproach. / Graduate sub-culture music punk rock counter-culture digital age sociology Victoria BC local ethnography documentary filmmaking film studies music sociology D.I.Y musicology grounded theory etic emic qualitative research Frankfurt school subculture theory Adorno Horkheimer egalitarian democracy culture alienation community hardcore globalism internet mass culture self-identity participant observation culture industry consumerism corporatism Vancouver Island fieldwork World Wide Web freedom of expression rebellion technology constructivist subversion CCCS Chicago School nomeansno embodied oral history Somewhere to Go

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