In the past thirty years, a growing community has emerged to advocate for the preservation and recognition of home movie collections based on their historical significance. Despite the significant cost of preserving and providing access to these collections and the myriad challenges they pose to archivists and researchers, no substantive research exists that evaluates their actual scholarly use or impact. Through a publication analysis and a survey of the Association of Moving Image Archivists, I sought to determine if there is a difference between whom archivists think should be using home movie collections and who is actually them. Though my findings suggest that home movies have yet to impact the scholarly work of historians, I offer recommendations for future research and professional development that may encourage increased scholarly use as well as increased collaboration between archivists and historians. / text

Thesis (M.B.A.)--University of Hong Kong, 1992.

This paper is a theoretical and aesthetic exploration of my MFA thesis film- an autobiographical documentary. This documentary was entirely shot in China, with both high-definition footage and Super 8 film; it takes a journey in my hometown to discuss the contemporary housing problem across generations in modern China. By focusing on ordinary family life, the film attempts to reveal the tension and conflicts arising between Chinese people's need for roots and the shifting socioeconomic system. The first part of the paper addresses the highly contrasted filmic textures that establish various temporal dimensions in the film. Taking an autobiographical approach, the first person perspective is employed to connect these times and spaces. The second part of the paper will examine the subjectivity in the film and discuss how the self functions as a storyteller, an outsider and a family member at the same time. The following chapter will visit the physical familiar space. The lens searches for marks and signs left by everyday practices, in order to trace the change of the concept of home in Chinese culture after the invasion of industrialization and consumerism. Such an enormous socioeconomic transformation has eventually given birth to a wave of nostalgia in contemporary China. This nostalgia answers a cultural need that counters the irresistible process of modernization, urbanization and commercialization in the transitional China.

published_or_final_version / Business Administration / Master / Master of Business Administration

「家」是人類生活的重心，居家影像監控設備的需求來自於家庭用戶想要掌握居家環境安全現況。相對於商業影像監控的應用，居家影像監控設備安裝的複雜度需要較低。因此居家影像監控市場以簡易安裝、遠端監控為主要的發展趨勢。 網路攝影機(IP Camera)具有數位化及網路化的特色，掌握寬頻網路的電信業者積極為影像監控市場創造新興的居家應用情境。許多傳統影像監控產品製造商為因應居家影像監控的潮流，也紛紛推出產品因應。然而電信業者及傳統影像監控業者在居家影像監控的市場都沒有得到很大的成功。個案公司創立於2009年，在2012年所推出的第一代產品，一開始只在網路上銷售，卻在2012、2013席捲美國市場，成為美國居家影像監控產品的第一品牌。 本研究探討之研究問題包括: (一)數位化及網際網路的普及對影像監控產品設計之影響、(二)行動裝置的普及對影像監控產品設計之影響、(三)個案公司提升消費者認知價值之產品創新策略。 本研究採用個案研究方法，首先列出客戶所重視的產品要素，以產品關鍵要素為橫軸客戶對個案產品的認知價值為縱軸描繪出曲線圖，比較個案公司產品與競爭對手的產品價值曲線，可解讀出其策略上的差異點。最後運用藍海策略思維，重塑和創新價值曲線以產生新的策略意義。 本研究發現，數位科技進步及網際網路的普及降低了使用影像監控產品的門檻，因而使居家影像監控產品得以被大量採用。而移動裝置的普及改變了消費者使用影像監控產品的方式，使用者的體驗主要來自於手機App的操作經驗，與過去在個人電腦上的使用經驗完全不同。個案公司以解決使用者痛點作為提升消費者認知價值之產品創新策略，值得居家影像監控業者未來產品規劃參考。 / Home is the center of human life, home video surveillance equipment demand from home users want to master the security status of the home environment. With respect to the commercial video surveillance applications, home video surveillance equipment requires low complexity of the installation. Therefore, the main trend of home video surveillance is easy installation and remote monitoring. IP Camera has digitized and network-oriented features, Internet carriers create new application scenarios for home video surveillance market. Many traditional video surveillance equipment manufacturers to cope with the trend of home video surveillance have also introduced products in response. However, carriers and traditional video surveillance industry in the home video surveillance markets have not been very successful. Founded in 2009, Dropcam Inc. launched the first generation of products in 2012, selling only on the Internet at the beginning, became the top brand of home video surveillance products in United States in 2013. This study try to answer three questions: (1) The popularity of digital technology and the Internet's impact on the design of video surveillance products, (2) The impact of the popularity of mobile devices on the design of video surveillance products, (3) Dropcam’s product innovation strategy to enhance consumer perceived value of the product. This study used a case study approach. Comparing the product value curve of Dropcam's products and its competitor’s product can interpret difference of strategy. Finally, the use of blue ocean strategy thinking, remodeling and innovation to create a new value curve strategic importance. The study found that the popularity of digital technology and the Internet's progress reducing the threshold to use of video surveillance products, thus making home video surveillance products to be widely adopted. The popularity of mobile devices has changed the way consumers use video surveillance products. Dropcam to resolve user’s pain points to enhance consumer awareness of the value of a product. It is worth for coming home video surveillance maker’s reference.

This master thesis focuses on the home video training in families with children with autism spectrum disorders in the toddler period. Its aim is to summarize knowledge and new findings from the crucial areas and to describe the utilization of this method. The theoretical part of the thesis deals in detail with the method of home video training. It is also focused on autism spectrum disorders, especially on their typical manifestation in the toddler period. The specifics of families with children with this disorder are described. Current information from the area of use in these families is also mentioned. The empirical part of the thesis contains a presentation of a study based on the four case studies. It approaches the use of method video home training in families with children with autism spectrum disorders.

This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.