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The paper primarily aims to depict the cultural life in the district city of Tábor against a background of the 1968 - 1970 historical events. The author describes, against the historical background, the individual cultural events and the life of the city, as well as the influence of political events which had the result that the city, and indeed the entire country, returned to the era preceding the "golden sixties". Employing the method of oral history, the author has interviewed narrators who had a proactive relationship to the cultural events in the city. Their testimonies were used as a basis for selecting topics which illustrate the cultural movement in the late 1960s as a period of liberalisation ending with normalisation which suppressed the cultural development of the city; the author especially invokes those events which were irreconcilable with the subsequent political developments in the country. The paper also refers to other resources which outline the atmosphere of the era, namely resources provided by the political authorities of the city and the Tábor City Chronicle. Using the testimonies provided by the narrators and the archival resources, the author has endeavoured to paint the most accurate picture of the atmosphere surrounding the events happening in the city in the said period....

Die vorliegende Arbeit vergleicht die Filmförderungssysteme auf Bundesebene in Deutschland und Brasilien. Dia Analyse der gegenwärtigen normativen Strukturen in beiden Ländern umfasst vier Kernpunkte: i - die in den Rechtsinstrumenten zum Ausdruck gebrachten Ziele; ii- die Funktionsweise und Organisationsstruktur der Förderinstitutionen; iii - die Maßnahmen zur Finanzierung der verschiedenen Bereiche der Filmwirtschaft; iv - die rechtlichen Kriterien für die Gewährung von Finanzmittel. Solche Punkte werden als Bestandteile eines Systems von Rechtsnormen verstanden, durch das der Staat das einheimische Kino in beiden Ländern fördert und schützt. Die vergleichende Analyse des deutschen und brasilianischen Rechtssystems berücksichtigt die drei grundlegenden Aspekte eines Films: wirtschaftlich, kulturell und medial. Unterschiede zwischen deutschem und brasilianischem Föderalismus werden ebenfalls berücksichtigt. Ziel dieser Arbeit ist es, zu untersuchen, inwieweit Ziele, Institutionen, Förderarten und Kriterien rechtlich miteinander vereinbar sind und ob die Rechtsstruktur der derzeitigen Filmförderungssysteme den deutschen und den brasilianischen Staaten dazu bringen kann, ihre legalen Zwecke zu erreichen. / The present work compares the cinema incentive systems at the federal level in Germany and Brazil. The analysis of the current normative structures in both countries covers four key points: i- the objectives expressed in the legal instruments; ii- the mode of operation and organizational structure of the incentive institutions; iii- the types of measures adopted to finance the different areas of the cinema economy; iv- the criteria adopted for granting incentives. Such points are understood as components of a system of legal norms through which the State promotes and protects national cinema in both countries. The comparative analysis of the German and Brazilian legal systems takes into account the three fundamental aspects of cinema: economic, cultural and media. Differences between German federalism and Brazilian federalism are also considered. The objective of this work is to investigate to what extent objectives, institutions, types of incentives and criteria are legally compatible with each other and if the legal structure of the current cinema incentive systems can lead the German and Brazilian states to reach their legal purposes. / O presente trabalho compara os sistemas de incentivo ao cinema em nível federal na Alemanha e no Brasil. A compreensão das atuais estruturas normativas em ambos os países abrange quatro pontos-chave: i- os objetivos expressos nos instrumentos legais; ii- o modo de funcionamento e estrutura organizacional das instituições de incentivo; iii- os tipos de medidas adotadas para o financiamento das diversas áreas da economia do cinema; iv- os critérios adotados para concessão de incentivo. Tais pontos são compreendidos como componentes de um sistema de normas jurídicas por meio das quais o Estado promove e protege o cinema nacional nos dois países. A análise comparativa dos ordenamentos jurídicos alemão e brasileiro leva em conta os três aspectos fundamentais do cinema: econômico, cultural e midiático. Também são consideradas as diferenças entre o federalismo alemão e o federalismo brasileiro. O objetivo desse trabalho é investigar em que medida objetivos, instituições, tipos de incentivo e critérios são juridicamente compatíveis uns com os outros e se a estrutura jurídica dos atuais sistemas de incentivo ao cinema pode conduzir os Estados alemão e brasileiro ao alcance de seus propósitos legais.

A feasibility study is a technical-economic study, an essential tool for investment decisions. The study aims to provide technical, economic, financial and management information qualified for investment decisions. The theoretical section summarizes the purpose, process and structure of individual chapters of the feasibility study including cost-benefit analysis. In the practical part of the feasibility study is designed public project model and its alternative financing option by the grant program of the European Union.

The general topic of te diploma thesis is revitalization and renewal of the town of Velké Němčice. This work is focused on the historical center of Velké Němčice, especially on renewal of the objects of the culture house, cinema and the municipal office, the public areas and the connection to the rest of the area. The core of the work brings a detailed proposition of the reconstruction and reworking of the existing public objects with the adjacent public areas. Another part of the work covers a concept of utilization of adjacent site of the local parish. The point of the work is to create a compact cultural center with the emphasis on permeability and usability, using incorporation into the current urban structure and demarcation of the functional program. The object should become an important cultural point of multifunctional usage to not only hold public events, but also be a public space for the hobbies of the town. Additionally there is an emphasis on the creation of high quality entrence space with a direct connection to the adjacent surroundings, which will help their further development.

The project manage to transform = reconstruct the object of a cultural center and a museum in the center of Kopřivnice town. It analyses and widens the offerings of functions and increases aesthetic and cultural values of the building(s) and the surroundings. It also solves urban connections to the environment and wider relations in the town level.

Feministische Filmtheorien erforschen Kino als kulturelle Institution und untersuchen vor allem seine geschlechtsspezifischen Repräsentationsstrategien, seine Subjektivitätskonzepte und seine geschlechterdifferenten Produktions- und Rezeptionsbedingungen. Ihre Anfänge nahmen sie während der zweiten Frauenbewegung der 1960er Jahre. Gesucht werden u. a. Gegenentwürfe zur männlichen Perspektive populärer Filme, in denen Frauen als passive Objekte fungieren.

Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les traces. / This research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces.

Feministische Filmtheorien erforschen Kino als kulturelle Institution und untersuchen vor allem seine geschlechtsspezifischen Repräsentationsstrategien, seine Subjektivitätskonzepte und seine geschlechterdifferenten Produktions- und Rezeptionsbedingungen. Ihre Anfänge nahmen sie während der zweiten Frauenbewegung der 1960er Jahre. Gesucht werden u. a. Gegenentwürfe zur männlichen Perspektive populärer Filme, in denen Frauen als passive Objekte fungieren.

This report argues that historic landscape preservation efforts need to embrace biodiversity planning. Historic landscape preservation sites need to develop biodiversity plans because they are uniquely qualified to provide the continuous monitoring that successful biodiversity planning requires. Not only will biodiversity monitoring at various historic landscape sites contribute to a nationwide collection of biodiversity planning data, but it will also provide a rich source of information that can be presented to draw a wider audience into the biodiversity discussion. After considering three precedents: Old Sturbridge Village, Old World Wisconsin, and Tucson Botanical Gardens, the report focuses on the Kino Heritage Fruit Trees Project and its real and potential impacts on biodiversity planning in southern Arizona and more broadly. Finally, the report considers how seed libraries and seed swaps might serve a similar purpose in other parts of the country. / text