Made available in DSpace on 2016-04-26T18:16:22Z (GMT). No. of bitstreams: 1 Veronica Ferreira Dias.pdf: 11039938 bytes, checksum: aeb21b0a1ee309e2e6393383163b940c (MD5) Previous issue date: 2003-09-03 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This dissertation aims at showing that metalanguage constitutes the space of the real in Eduardo Coutinho's documentary films. The films chosen for analysis are: Twenty Years After (1984), Strong Saint (1999), Babilonia 2000 (2000) and Master Building (2002), in which I look at the processes of pre-production, production and editing in order to identify the director's specific techniques and authorial features. My main theoretical resources were concepts on the documentary genre developed by Bill Nichols (the reflexivity) and Jean-Claude Bernardet (the voice of experience). The analyses carried out made it possible to determine procedures which are typical of Coutinho's method, namely the use of interviews, the legitimisation of the characters' voices, the use of off-comentaries which do not aim at conveying the absolute truth, and the on-screen presence of the director, the crew and the technical apparatus. This method is based on an ethos and a political atitude which forbids the manipulation of the real, especially when it is a matter of broadcasting the voice and the image of the oppressed / O presente estudo tem como premissa a idéia de que a metalinguagem constitui o espaço do real nos documentários de Eduardo Coutinho. Como objeto de análise foram escolhidos os filmes Cabra marcado para morrer (1984), Santo forte (1999), Babilônia 2000 (2000) e Edifício Master (2002), nos quais são investigados os processos de pré-produção, produção e montagem para se identificar a técnica específica e o traço autoral do diretor. Como referenciais teóricos básicos foram utilizados conceitos desenvolvidos por Nichols (categoria reflexiva) e Bernardet (voz da experiência) a propósito do cinema documentário. As análises realizadas permitiram que se delineassem procedimentos que caracterizam o método de Coutinho, qual seja, a realização de entrevistas, a legitimação da voz dos personagens, a utilização de locutores sem domínio total da verdade, e a presença em cena do realizador, da equipe e do aparato técnico. Esse método se pauta por uma ética e numa atitude política que proíbem a manipulação do real, especialmente quando se trata de veicular a voz e a imagem das classes desfavorecidas

Pembroke Circle is a feature-length, micro-budget, digital motion picture, written, produced and directed by Max Rousseau as a part of the University of Central Florida’s Masters in Fine Arts program in Digital Entrepreneurial Cinema. The filmmaker engaged some very difficult material in the micro-budget paradigm and grew personally and professionally in the process. This thesis documents the writing process, pre-production, fund-raising, production and post-production; all leading to the completion of a festival-ready feature film. It is the hope that this thesis will create an understanding of what it takes to make a micro-budget film and offer some help to future filmmakers embarking on a similar path.

This dissertation is mapping the practise of securing of purchased parts within Skoda Auto company in pre-production and production of vehicles. There are two approaches compared: existing and new one so-called Kaufteilemanagement. Was done analysis of causes of complications with parts delieveries. Was done analysis of tools used for securing of purchased parts. There are new possible tools proposed. Methods of data acquisition: analysis of empirical data, consultations and discussions with Skoda Auto personnel.

The promulgation of the Mineral and Petroleum Resources Development Act 28 of 2002 (MPRDA) led to a significant increase in the number of junior exploration companies. In this regard, International Financial Reporting Standard (IFRS) 6 allows companies to develop their own accounting policies for exploration and evaluation expenditure. However, there is no definition of either prospecting or exploration in the Income Tax Act 58 of 1962 (Income Tax Act). The objective of this study was to perform a literature review and to carry out empirical research by using questionnaires that were distributed to junior exploration companies to investigate whether accounting and taxation practices are consistently applied. Accordingly, the findings confirmed that the accounting and taxation practices followed by junior exploration companies are not consistently applied. / Financial Accounting / M.Com. (Accounting)

本論文企圖透過製作人的目光，建構偶像劇產製之理論與實務，是以本研究蒐羅了資深製作人的偶像劇產製經驗，包含前製、錄製、後製、映演發行及宣傳四階段，試圖勾勒出製作人如何挑選「對的人」，做了哪些「對的事情」，以供影視產業的新血與工作者參考；同時，本研究也希望理解偶像劇製作人共同的願景與擔憂，以供廣電決策者作為擘劃政策之依據。 　　為遂行研究，本論文採取深度訪談中的「半結構式訪談法」，邀集台灣17位重要偶像劇製作人，他們不僅擁有成立個人工作室或製作公司之經驗，也在編劇、綜藝節目、戲劇演員等影視工作崗位上逐漸成長。 　　本研究發現，偶像劇製作人在前製、錄製、後製、映演發行及宣傳四階段皆參與甚深，尤其是決定偶像劇成敗的前製階段，更是製作人最為苦心戮力的時刻；產製過程中，製作人必須來回穿梭，就導演手法、演員表現、劇本可實際操作性三者之間，求得平衡、達成共識；這卻也顯示製作人身陷的矛盾：必須盡可能讓導演揮灑，卻又不能放任導演求快而不講究細節、耗費製作成本。 　　當製作人擁有代表作，形成個人品牌後，伴隨而來的是更多製作機會，無論是委製、與電視台共同投資，或是與中國大陸電視台、影視公司、新媒體合作，製作人與其製作的偶像劇成為深具價值的投資標的，吸引各方資金挹注；然則口碑與收視率維持不易，若是抄襲國外，或是自我抄襲，品牌恐毀於一旦。 　　值得注意的是，製作人產製偶像劇時，政府補助已成為一大金脈，當電視節目收視率不斷下滑，偶像劇製作預算沒有調升的空間，缺乏資金挹注下，大陸影視公司開始向台灣偶像劇製作人招手，希望引進台灣的產製模式，台灣偶像劇製作人挾著品牌光環，不僅將戲劇銷往大陸，更陷入「根留台灣」抑或是「錢進大陸」的掙扎。 / This thesis attempts to construct a theory and practice behind the production of trendy drama through the perspective of producers. As such, the thesis amasses senior producers’ experiences of producing trendy dramas, including their four-stage experiences from pre-production, production, post-production, to distribution and promotion. I try to contour how producers pick “the right people” and make “the right decisions”, which can serve as a future reference for newcomers and workers in the audiovisual industry. Furthermore, I also study the visions and worries that trendy drama producers share in common, and it is my wish that this understanding can shed light on future policy making by decision makers in broadcasting and television government agencies. I use semi-structured interview approach in interviewing 17 important trendy drama producers. All these producers have experiences in either starting their own studios or production companies; in addition, they all make progress step by step in their professions, be it writing scripts, involving in entertainment shows, acting, or other audiovisual professions. In my research, I find that trendy drama producers involve deeply in all four stages of production, which includes pre-production, production, post-production, and distribution and promotion. Particularly, producers put the most effort and their labor during the pre-production stage, as the outcome of this stage determines the overall success of trendy dramas. During productions, we see producers always seeking to balance director’s styles, performance of actors, and practicality of scripts; it is their job to settle disputes between different people to reach consensus. Yet, this reveals a dilemma producers face: directors should be given as much freedom in their creation, but they cannot be unrestrained because it can lead to paying careless attention to details and focus solely on speed, or it can cause the production cost to skyrocket. As soon as producers produce their signature works and establish their own personal brands, more production job opportunities follow. Producers become producers in other projects, are invited to jointly invest with television companies, or are invited to collaborate with television channels in China, audiovisual companies, and new media. Producers and the trendy dramas they produce become valuable investment options that attract capital. However, staying up to audience’s expectations and maintaining ratings prove to be difficult. Nothing can do more harm to their brands than plagiarizing works from abroad or from themselves. Lastly, it is worthy to mention that government subsidies are now big contributors to producers’ budget in making trendy dramas. When subsidies cannot grow due to dramas’ plunging rating, China enters the fray, luring these trendy drama producers with an aim in mind to import Taiwanese production model in trendy dramas. While producers can sell their products to Chinese audience rather easily thanks to shining brands they own, they often struggle to decide whether to stay in Taiwan or seek better pay in China.

The promulgation of the Mineral and Petroleum Resources Development Act 28 of 2002 (MPRDA) led to a significant increase in the number of junior exploration companies. In this regard, International Financial Reporting Standard (IFRS) 6 allows companies to develop their own accounting policies for exploration and evaluation expenditure. However, there is no definition of either prospecting or exploration in the Income Tax Act 58 of 1962 (Income Tax Act). The objective of this study was to perform a literature review and to carry out empirical research by using questionnaires that were distributed to junior exploration companies to investigate whether accounting and taxation practices are consistently applied. Accordingly, the findings confirmed that the accounting and taxation practices followed by junior exploration companies are not consistently applied. / Financial Accounting / M.Com. (Accounting)

L’énergie éolienne, l’une des énergies renouvelables les plus compétitives, est considérée comme une solution qui remédie aux inconvénients de l’énergie fossile. Pour une meilleure gestion et exploitation de cette énergie, des prévisions de sa production s’avèrent nécessaires. Les méthodes de prévisions utilisées dans la littérature permettent uniquement une prévision de la moyenne annuelle de cette production. Certains travaux récents proposent l’utilisation du Théorème Central Limite (TCL), sous des hypothèses non classiques, pour l’estimation de la production annuelle moyenne de l’énergie éolienne ainsi que sa variance pour une seule turbine. Nous proposons dans cette thèse une extension de ces travaux à un parc éolien par relaxation de l’hypothèse de stationnarité la vitesse du vent et la production d’énergie, en supposant que ces dernières sont saisonnières. Sous cette hypothèse la qualité de la prévision annuelle s’améliore considérablement. Nous proposons aussi de prévoir la production d’énergie éolienne au cours des quatre saisons de l’année. L’utilisation du modèle fractal, nous permet de trouver une division ”naturelle” de la série de la vitesse du vent afin d’affiner l’estimation de la production éolienne en détectant les points de ruptures. Dans les deux derniers chapitres, nous donnons des outils statistiques de la détection des points de ruptures et d’estimation des modèles fractals. / The wind energy, one of the most competitive renewable energies, is considered as a solution which remedies the inconveniences of the fossil energy. For a better management and an exploitation of this energy, forecasts of its production turn out to be necessary. The methods of forecasts used in the literature allow only a forecast of the annual mean of this production. Certain recent works propose the use of the Central Limit Theorem (CLT), under not classic hypotheses, for the estimation of the mean annual production of the wind energy as well as its variance for a single turbine. We propose in this thesis, an extension of these works in a wind farm by relaxation of the hypothesis of stationarity the wind speed and the power production, supposing that the latter are seasonal. Under this hypothesis the quality of the annual forecast improves considerably. We also suggest planning the wind power production during four seasons of the year. The use of the fractal model, allows us to find a "natural" division of the series of the wind speed to refine the estimation of the wind production by detecting abrupt change points. Statistical tools of the change points detection and the estimation of fractal models are presented in the last two chapters.

This diploma thesis deals with the topic of preparation and management of a construction contract to manage and maintain roads. The aim is to analyze the management of the selected construction contract, the suggestion of my own solution to the problem and the generalization of the knowledge for managing similar projects.

This doctoral thesis focuses on noise generated during construction. It defines the legislative and physical aspects of this topic. It determines heavy machinery as noise source and categorizes them by their usage in construction technologies. It collects source data of the machinery noises which can be further used in prognostic models. It analyses the level of construction noise which can impact the nearby residential areas and offers methodology for modelling and designing the possible arrangements for the noise reduction. It defines partial effects of the construction site which are significant for the noise spreading. It establishes their role in the value of acoustic pressure level of the noise affecting the façade of the considered building. With the data collection and with case study verification it offers a prepared work tool which can be easily used to predict noise levels on construction sites and can be applied in the early constructions preparations. The structure of this thesis is planned for possible usage as university textbook or study support.