Texte remanié de: Dissertation--Kunst--Berlin--Universität der Künste. / Bibliogr. p. 345-382.

Univ., Diplomarbeit, 2006--Wien.

Texte remanié de: Diss.--Karlsruhe, 1996. / Bibliogr. p. 277-283. Index.

Taiwan's Uni-President Enterprise Corp. started its business from flour. In order to save costs, Uni-President proceeded with a vertical industrial integration at the initial stage, opened additional businesses at the middle stage, and diversified until recently. He has been playing a pivotal role as a pioneer for marketing, product development, and even diversification strategies in this industry. With the expansion of overseas investments, Uni-President Enterprise Corp. received significant benefits from economies of scale. South Korea has been a formidable competitor to Taiwan. Our market is not only flooded with various Korean electronic equipment, household appliances and audio-visual entertainment, but also the foods. For example, the koala-shape biscuits and chocopie, which are rather popular, are from Lotte, the food industry leader of South Korea. These two enterprises are both leaders in the food industry, and take integration and diversification as parts of their development process. Diversification of product and business is the main method to facilitate growth. M&A (Merger & Acquisition) is the fastest and safest way to enter a new business field. Taiwan's Uni-President Enterprise Corp. and Korea's Lotte Group are the main cases for this study. Here we analyzed their strategies and motivations to understand the synergy and business performance these groups have as well as their differences.

Generally the skyscraper has been the great architectural contribution of modern capitalistic society and treated as the pride of a city’s urban development with significantly embossed positive aspects over the past few decades. Yet the fact that the ripple effects resulting from these buildings don’t always proceed to only a bright future urban life has also been confirmed through our recent experiences, and is especially more easily observed in high density and congested areas such as Asia Pacific cities. Therefore the evaluation for the justification of skyscraper development projects would be different depending on the specific conditions that a city faces. It is a start point of this paper. In this aspect, this study is based on the case study, the 2nd LOTTE WORLD Project in Seoul, South Korea. Because this project is an unprecedented building type in South Korea and there are no standard of measurements to evaluate its adequacy, establishing a decision model for verifying the real value of this project would be worth for the systematic urban planning in Seoul City. Furthermore, because the author got directly involved with this project as an architectural planning consultant in CB Richard Ellis firm1, the author can be in seeing this project with credible data as well as several unopened documents. Notably, this project will contribute to a boom in local economy, improving the brand image of Seoul. However, as long as conflicts incurred exist those benefits cannot be only absolute grounds to define the real value of this project. Therefore this study analyzes credible factors, which are potentially influenced by the 2nd LOTTE WORLD Project, to make an evaluation tool. The result from the survey research shows that most responders select ‘Tourism industry’ and ‘Unique identity’ as main factors substantially resulting from the completion of this project and all factors belonging to the two ‘Economic effects’ and ‘Social / Political benefits’ highly preferred to those belonging to the ‘Social / Political conflicts’. And this supports the fact that the 2nd LOTTE WORLD TOWER project is worth proceeding with a huge amount of positive effects for local communities as well as Seoul City. However, because there is a limit to this survey research in that the small collected sample size is not enough to generalize the characteristics of this project, a more specific study is necessary to find real value and more specific relationships between skyscrapers and urban fabric in Seoul City in the future. / text

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Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories. My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and filmmakers elucidates the complicated relationships between women and film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (feature) film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated film within the larger genre of film, in chapter four I reflect upon the scholarly tendency to relegate film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated feature film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated film and development of the medium of film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization.

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.