This dissertation consists of three essays in international trade. The first chapter analyzes integration strategies of Korean firms that involve producing final products and providing post-production services for serving geographically separate foreign markets: high-income and low-income countries. I present a model in which heterogeneous firms must provide services for products through their subsidiaries in host countries, but can produce output in different locations. The model shows that the firm's equilibrium decision depends on its own productivity level and economic variables that affect production location and providing services. Using plant- and firm-level data of Korean firms, the empirical analysis provides the results that support the model's predictions. The second chapter analyzes the effects of regional economic integrations on investment patterns among Korean multinational firms. Using Korea's middle-income status, we develop a model in which heterogeneous firms in a middle-income country decide on the optimal FDI strategies for serving different regions: a developed (EEA) and a developing (AFTA) trade integrated regions. Following reduced trade costs between countries inside the trade integrated region, our model predicts that integrating into a regional economic zone affects firms with low productivity levels to enter the region via complex FDI strategies. Depending on the size of the region, however, complex FDI strategies differ such that firms investing in developed region tend to undertake local and export sales to the third country, whereas firms investing in developing region are more likely to engage in not only local and export sales to the third country, but also export sales to the parent country. The empirical analysis confirms the effect of different regional economic integrations on the strategy of firms with different productivity levels. The last chapter examines the conditions under which technology spillovers through workers' movement occur between foreign affiliates in the host country and determine whether such spillovers can affect the exporters' decisions to switch their strategies to serve foreign markets via FDI. Developing a simple two-period duopoly model, I find that the occurrence of technology spillovers is dependent on firm and host country characteristics such that spillovers are more likely to arise when firms have similar technology capabilities and in countries that incur low cost of training local workers. Under these circumstances, exporters are more likely to switch to FDI for serving foreign markets. However, I find that transport costs of goods have ambiguous effect on the occurrence of spillovers and thus, do not play a marginal role in exporters' decision. / text

This report will summarize the process of writing, developing, directing and finishing the high-definition short film, Rescue You, This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

360-degree videos offer an immersive experience which is hard to find in traditional videos. The entire scene is floating around the viewer, and a feeling of being there is common. However, something traditional videos have compared to 360-degree videos is control of the outcome. The filmmakers decide what they want to show and how they want to guide the viewer. The control is still an issue in 360-degree videos. In this thesis will the focus be on how a viewer can be attracted to an important part of a scene. This work is concentrated on methods and techniques in the post-production part of video production. The techniques are mainly video effects.    The user tests involved 16 participants with different backgrounds including an expert in the field. The participants watched three 360-degree videos each with the same content, but with different techniques made in the post-production part to guide them. It was one video with graphical elements to guide them, one with light effects and one with colour effects. Interviews gave a deeper insight into the participant's experience and opinions on the three videos. The video effects affected the participants positively and negatively. The participants were mostly satisfied with effects consisting of graphical elements but not as much with colour. The users lost a bit of their freedom to explore a scene with the light effects, but they were useful when it came to guiding towards something. The participants did find the guiding lines and spotlight as the most suitable methods to attract attention; the spotlight was the most preferred of the two. The red circle effect and the warm/cold colour effect was the least preferred, the warm/cold colour effect as the least preferable. The effects helped to attract the viewer to a section of the video, and the user's got a better understanding of the concept. However, more research need to be done to draw attention towards something. A combination of elements like light effects and graphical element effects could improve the post-production part. Research in the future regarding the opportunity to combine techniques from an entire video production needs to be conducted for a significantly more effective way to attract attention to an important side of a scene, without the viewers losing their freedom of exploring, it includes both the post-production side but also methods to attract attention in a set.

Em um mundo marcado pela globalização, mercados comuns, grandes grupos corporativos, produção em massa e uma oferta quase ilimitada de produtos industriais, a individualização é um requisito que ganha cada vez mais importância entre os consumidores. O mercado para produtos que expressem sua personalidade e seus gostos, que os identifiquem e os tornem únicos por meio da customização, está em franca expansão. Isto abre uma possibilidade para o design comprometido em desenvolver produtos que atendam essas necessidades individuais, mesmo em produtos produzidos em massa. No entanto, os métodos projetuais usualmente empregados por profissionais do design não contemplam esse novo cenário, gerando uma lacuna a ser estudada. Este trabalho tem como objetivo, identificar etapas e características dos processos metodológicos que incorporam a customização pós-produção. Este trabalho faz uso da investigação exploratória, bibliográfica e qualitativa por meio da aplicação de questionários e entrevistas. A aplicação das entrevistas ocorreu com um grupo de profissionais atuantes nas diferentes áreas do design de produto. A síntese das entrevistas, aliada a uma análise comparativa dos dados convergentes e divergentes, somaram para identificação das principais etapas no desenvolvimento de produtos que levam em conta a customização do usuário pós-produção. Os resultados finais dão conta da importância do pensamento voltado para a customização em diversas etapas do processo de projeto em design. / In a world marked by globalization, common markets, large corporations, mass production and an almost unlimited supply of industrial products, individualization is a requirement that is increasingly gaining importance among consumers. The market for products that express your personality and tastes, identifying them and make them unique by customizing is booming. This opens a possibility to design committed to developing products that meet these individual needs, even in mass produced products. However, projective methods usually employed by design professionals do not consider this new scenario, creating a gap to be studied. This study aims to identify steps and characteristics of methodological processes that incorporate the customization postproduction. This work makes use of exploratory research, and qualitative literature through questionnaires and interviews. The application of the interviews took place with a group of professionals working in different areas of product design. A summary of the interviews, together with a comparative analysis of convergent and divergent data, amounted to identify key steps in developing products that take into account user customization postproduction. Final results realize the importance of thought toward customization in various stages of project design.

Lo-Fi vem de Low Fidelity, que em inglês significa baixa fidelidade. Na música, se transformou em linguagem sonora a partir da década de 1970, quando alguns artistas, buscando soluções econômicas para a autoprodução e independência em relação às gravadoras, passaram a utilizar gravadores caseiros para fazer seus próprios registros. A partir desse ato de libertação e experimentação, se obteve, por transbordamento, uma sonoridade ruidosa, crua, de baixa fidelidade de gravação. Mas, ao mesmo tempo, o ruído produzido por essa produção marginal engendrou cruzamentos autênticos e espontâneos que logo formaram uma paisagem sonora de grande vitalidade. De forma contrária, o Hi-fi, ou High-Fidelity, busca na alta-fidelidade a idealização e a perfeição do seu produto final que, uma vez ligado à indústria fonográfica e à alta tecnologia, tende a ser direcionado pelas lógicas do mercado. Pensado e produzido como objeto-fim, o fazer arquitetural contemporâneo vem se aproximando da gravação hi-fi: delimitado, ordenado por estratos, classificações e tipos que a definem como objeto-produto. Nessa lógica, a arquitetura torna-se imagem, espetáculo pronto para o consumo e descarte. Propõe-se, neste trabalho, uma inflexão, um deslocamento do pensar arquitetural a partir da aproximação metafórica acionada pelo modo lo-fi . / Lo-Fi is the acronym that stands for Low Fidelity. In the music industry, during the70’s it became a trendy language when artists, searching economical solutions for self-production and independence from record companies, using homemade devices for sound recording. Following this first experiment of liberation, was obtained a noisy overflowing sonority, raw, or as it became known, low fidelity of the recording. However, at the same time the noise produced by this marginal production created an authentic and spontaneous blend that soon formed a vivid sound scene. Contrariwise the Hi-fi, or High Fidelity, seeks the idealization of perfection as its final product which, once merged to the phonographic industry and the high technology, tends to be driven by the logic of the market. Thought and produced as a final product, contemporary architecture follows the steps of the hi-fi recording: delimited, ordered in layers, classifications and by stereotypes that define it as an object-product. In this logic, architecture becomes an image, a spectacle ready for consumption and disposal. This work proposes an inflexion, a displacement on the architectural thinking from the metaphorical approach triggered by the lo-fi mode. Flaws by noise, by experimentation, by the potency of invention leads to a turning point in the making process, broader, returning to the idea of the unfinished, unexpectedly, guiding into a process that its meaning is not in the final product, but rather in the path itself, in the desire for transformation, in the unknown. Reflecting about the process as lo-fi music evokes is returning to the initial sketch, it is decomposing and questioning its nature, it is exposing the traces. It is bringing back the architecture in the sense of discovery, as a body in experimentation, as the surprise that reveals the unforeseen crossing of distinct times. The intention here is, based from speculative narratives, to try the deconstruct of some consolidated practices on the design process catalyzed by the music action. Pointing analogous approximations and representations of other architectural assemblies that are not represented by the narratives determined and exhausted by the logic of the market.

Em um mundo marcado pela globalização, mercados comuns, grandes grupos corporativos, produção em massa e uma oferta quase ilimitada de produtos industriais, a individualização é um requisito que ganha cada vez mais importância entre os consumidores. O mercado para produtos que expressem sua personalidade e seus gostos, que os identifiquem e os tornem únicos por meio da customização, está em franca expansão. Isto abre uma possibilidade para o design comprometido em desenvolver produtos que atendam essas necessidades individuais, mesmo em produtos produzidos em massa. No entanto, os métodos projetuais usualmente empregados por profissionais do design não contemplam esse novo cenário, gerando uma lacuna a ser estudada. Este trabalho tem como objetivo, identificar etapas e características dos processos metodológicos que incorporam a customização pós-produção. Este trabalho faz uso da investigação exploratória, bibliográfica e qualitativa por meio da aplicação de questionários e entrevistas. A aplicação das entrevistas ocorreu com um grupo de profissionais atuantes nas diferentes áreas do design de produto. A síntese das entrevistas, aliada a uma análise comparativa dos dados convergentes e divergentes, somaram para identificação das principais etapas no desenvolvimento de produtos que levam em conta a customização do usuário pós-produção. Os resultados finais dão conta da importância do pensamento voltado para a customização em diversas etapas do processo de projeto em design. / In a world marked by globalization, common markets, large corporations, mass production and an almost unlimited supply of industrial products, individualization is a requirement that is increasingly gaining importance among consumers. The market for products that express your personality and tastes, identifying them and make them unique by customizing is booming. This opens a possibility to design committed to developing products that meet these individual needs, even in mass produced products. However, projective methods usually employed by design professionals do not consider this new scenario, creating a gap to be studied. This study aims to identify steps and characteristics of methodological processes that incorporate the customization postproduction. This work makes use of exploratory research, and qualitative literature through questionnaires and interviews. The application of the interviews took place with a group of professionals working in different areas of product design. A summary of the interviews, together with a comparative analysis of convergent and divergent data, amounted to identify key steps in developing products that take into account user customization postproduction. Final results realize the importance of thought toward customization in various stages of project design.

Lo-Fi vem de Low Fidelity, que em inglês significa baixa fidelidade. Na música, se transformou em linguagem sonora a partir da década de 1970, quando alguns artistas, buscando soluções econômicas para a autoprodução e independência em relação às gravadoras, passaram a utilizar gravadores caseiros para fazer seus próprios registros. A partir desse ato de libertação e experimentação, se obteve, por transbordamento, uma sonoridade ruidosa, crua, de baixa fidelidade de gravação. Mas, ao mesmo tempo, o ruído produzido por essa produção marginal engendrou cruzamentos autênticos e espontâneos que logo formaram uma paisagem sonora de grande vitalidade. De forma contrária, o Hi-fi, ou High-Fidelity, busca na alta-fidelidade a idealização e a perfeição do seu produto final que, uma vez ligado à indústria fonográfica e à alta tecnologia, tende a ser direcionado pelas lógicas do mercado. Pensado e produzido como objeto-fim, o fazer arquitetural contemporâneo vem se aproximando da gravação hi-fi: delimitado, ordenado por estratos, classificações e tipos que a definem como objeto-produto. Nessa lógica, a arquitetura torna-se imagem, espetáculo pronto para o consumo e descarte. Propõe-se, neste trabalho, uma inflexão, um deslocamento do pensar arquitetural a partir da aproximação metafórica acionada pelo modo lo-fi . / Lo-Fi is the acronym that stands for Low Fidelity. In the music industry, during the70’s it became a trendy language when artists, searching economical solutions for self-production and independence from record companies, using homemade devices for sound recording. Following this first experiment of liberation, was obtained a noisy overflowing sonority, raw, or as it became known, low fidelity of the recording. However, at the same time the noise produced by this marginal production created an authentic and spontaneous blend that soon formed a vivid sound scene. Contrariwise the Hi-fi, or High Fidelity, seeks the idealization of perfection as its final product which, once merged to the phonographic industry and the high technology, tends to be driven by the logic of the market. Thought and produced as a final product, contemporary architecture follows the steps of the hi-fi recording: delimited, ordered in layers, classifications and by stereotypes that define it as an object-product. In this logic, architecture becomes an image, a spectacle ready for consumption and disposal. This work proposes an inflexion, a displacement on the architectural thinking from the metaphorical approach triggered by the lo-fi mode. Flaws by noise, by experimentation, by the potency of invention leads to a turning point in the making process, broader, returning to the idea of the unfinished, unexpectedly, guiding into a process that its meaning is not in the final product, but rather in the path itself, in the desire for transformation, in the unknown. Reflecting about the process as lo-fi music evokes is returning to the initial sketch, it is decomposing and questioning its nature, it is exposing the traces. It is bringing back the architecture in the sense of discovery, as a body in experimentation, as the surprise that reveals the unforeseen crossing of distinct times. The intention here is, based from speculative narratives, to try the deconstruct of some consolidated practices on the design process catalyzed by the music action. Pointing analogous approximations and representations of other architectural assemblies that are not represented by the narratives determined and exhausted by the logic of the market.

nÃo hà / A presente pesquisa propÃe fazer uma anÃlise iconolÃgica de parte da obra do cineasta norte- americano Gus Van Sant, utilizando para tanto dois conceitos fundamentais, a saber, PÃs- ProduÃÃo (BOURRIAUD, 2009) e SobrevivÃncia (WARBURG, 2013; DIDI- HUBERMAN, 2013). Selecionamos, para isso, cinco de seus principais filmes, sendo eles respectivamente: Psicose (1998), Gerry (2002), Elefante (2003), Last Days(2005) e Paranoid Park(2007), por acreditar que eles dÃo fÃlego as anÃlises e os conceitos supracitados. Noprimeiro momento tentamos pensar essa filmografia a partir de procedimentos artÃsticos como:apropriaÃÃo, remake, remix, releitura; procedimentos estes relacionados com a arte contemporÃnea, cujo modus operandi pode ser sintetizado pelo termo pÃs-produÃÃo. No segundo momento da pesquisa tentamos pensar essa filmografia em relaÃÃo com a histÃria da arte, analisando essa obra a partir da ideia de sobrevivÃncia (nachleben), um conceito derivado da singular iconologia criada pelo historiador da arte Aby Warburg, que tentou pensar a imagem pelo prisma das sobrevivÃncias das formas antigas em manifestaÃÃes culturais e artÃsticas diversas. Por fim, propomos um ensaio visual acerca dessas obras cinematogrÃficas, utilizando como inspiraÃÃo o âAtlas Mnemosyneâ - matlas de imagens que sintetiza o mÃtodo warburguiano de investigaÃÃo â privilegiando, portanto, a potÃncia imagÃtica em detrimento da historiografia tradicional calcada na palavra. / The present research proposes to make an iconological analysis of part of the work of the American filmmaker Gus Van Sant, using two fundamental concepts, namely Post-Production (BOURRIAUD, 2009) and Survival (WARBURG, 2013; DIDI- HUBERMAN, 2013). We chose five of their main films, respectively: Psycho (1998), Gerry (2002), Elefante (2003), Last Days (2005) and Paranoid Park (2007), for believing they give breaths to the analyzes and the above-mentioned concepts. At first we try to think of this filmography based on artistic procedures such as: appropriation, remake, remix, rereading; procedures related to contemporary art, whose modus operandi can be synthesized by the term post-production. In the second moment of the research we try to think about this filmography in relation to the history of art, analyzing this work from the idea of ​​survival (nachleben), a concept derived from the singular iconology created by the historian of art Aby Warburg, who tried to think the image by prism of the survival of ancient forms in diverse cultural and artistic manifestations. Finally, we propose a visual essay about these cinematographic works, using as inspiration the "Atlas Mnemosyne" - matlas of images that synthesize the Warburguian method of investigation - thus favoring the imagery power to the detriment of the traditional historiography based on the word

Em um mundo marcado pela globalização, mercados comuns, grandes grupos corporativos, produção em massa e uma oferta quase ilimitada de produtos industriais, a individualização é um requisito que ganha cada vez mais importância entre os consumidores. O mercado para produtos que expressem sua personalidade e seus gostos, que os identifiquem e os tornem únicos por meio da customização, está em franca expansão. Isto abre uma possibilidade para o design comprometido em desenvolver produtos que atendam essas necessidades individuais, mesmo em produtos produzidos em massa. No entanto, os métodos projetuais usualmente empregados por profissionais do design não contemplam esse novo cenário, gerando uma lacuna a ser estudada. Este trabalho tem como objetivo, identificar etapas e características dos processos metodológicos que incorporam a customização pós-produção. Este trabalho faz uso da investigação exploratória, bibliográfica e qualitativa por meio da aplicação de questionários e entrevistas. A aplicação das entrevistas ocorreu com um grupo de profissionais atuantes nas diferentes áreas do design de produto. A síntese das entrevistas, aliada a uma análise comparativa dos dados convergentes e divergentes, somaram para identificação das principais etapas no desenvolvimento de produtos que levam em conta a customização do usuário pós-produção. Os resultados finais dão conta da importância do pensamento voltado para a customização em diversas etapas do processo de projeto em design. / In a world marked by globalization, common markets, large corporations, mass production and an almost unlimited supply of industrial products, individualization is a requirement that is increasingly gaining importance among consumers. The market for products that express your personality and tastes, identifying them and make them unique by customizing is booming. This opens a possibility to design committed to developing products that meet these individual needs, even in mass produced products. However, projective methods usually employed by design professionals do not consider this new scenario, creating a gap to be studied. This study aims to identify steps and characteristics of methodological processes that incorporate the customization postproduction. This work makes use of exploratory research, and qualitative literature through questionnaires and interviews. The application of the interviews took place with a group of professionals working in different areas of product design. A summary of the interviews, together with a comparative analysis of convergent and divergent data, amounted to identify key steps in developing products that take into account user customization postproduction. Final results realize the importance of thought toward customization in various stages of project design.

This report describes the process of outlining a design proposal for a resource planning tool for TV post-production. A feasibility study in form of a participant observation has been carried out on-site, which has resulted in a requirement specification. Based on the requirement specification, mockups have been created to illustrate the functions and features that a final planning tool should have. In addition to developing a design proposal, an evaluation of the existing resource planning tool Ganttic has been conducted. Ganttic has been reviewed based on how well it meets the list of requirements. The result shows that Ganttic fails to meet a crucial requirement, thus cannot be used by the client. The recommendation is instead that the client implements the functions described in the design proposal in their current booking system.