Dissertations / Theses on the topic 'Barnes (Firm)'

Syftet med vår examinationsuppgift är att få inblick i hur barn uppfattar och reflekterar kring könsmönster på film. För att få reda på detta valde vi att använda oss av gruppintervjuer. Sammanlagt har vi intervjuat tolv barn och då med fördelningen fem flickor och sju pojkar, vilket resulterade i tre stycken gruppintervjuer där utfallet blev en flickgrupp och två pojkgrupper. Vi har intervjuat barn i år 3 för att ta del av deras tankar kring manligt/kvinnligt och könsmönster på film. Som grund till intervjuerna har vi visat två filmer för barnen, en med tydligt traditionella könsmönster och en med det motsatta. Dessa filmer ligger som grund för vår intervjustudie, vilken i sin tur ligger som grund för besvarandet av våra forskningsfrågor.

Ett av målen att uppnå i grundskolan är att eleven ”har kunskaper om medier och deras roll” (Lpo 94, sid 12). Vi menar att detta mål som elever ska uppnå, även har blivit betydelsefull för oss som blivande lärare att ha kunskap om, då vi med vår bakgrundslitteratur har kommit fram till att medierna har en stor betydelse när det kommer till hur vi uppfattar och tolkar vår omgivning. Vi har där även fått kunskap om att medierna är en av de största källorna för genusmeddelanden som barn utsätts för.

Utifrån våra intervjuer har kommit fram till att barnen reflekterar kring mycket av könsmönstren på film. Flickorna gör detta i högre grad och kan ifrågasätta det manliga idealet. Dock är det kvinnliga skönhetsidealet någonting som de själva vill leva upp till. Likaså kunde vi märka att det manliga till stor del är normen för pojkarna. Trots att barnen reflekterade kring könsmönstren ifrågasatte de dem inte, varken i den traditionella eller i den icketraditionella filmen. Vilket vi anser tyder på att våra förutfattade meningar, om att de skulle starkt ifrågasätta den icke-traditionella filmen, inte blev sanning.

This study investigates the relationship between firm resources, positioning strategies and performance in the smaller firm. Porter’s generic strategies have been useful in describing how firms compete in the marketplace, and the resource based view has shown that resources can lead to a sustained competitive advantage. The strategic management field has begun to combine the two theories and examine the link between them. Small firms must make the best use of their relatively scarce resources. It is proposed that the relationship between resources and performance is contingent upon the positioning strategy the firm competes on, although there has only been limited supporting research to date. This research builds on work by Edelman et al. (2005) by examining the relationship between human, organisational and physical resources, and the strategies of quality/ customer service, innovation, and cost leadership in 447 retail, engineering, and professional service firms in New Zealand. Using Structural Equations Modelling this research finds that positioning strategies are the mechanism by which firms can leverage their resources into higher performance. This relationship can be modelled as mediated or moderated, with statistical analysis sensitive to model complexity. The firm’s environment influences this relationship with different resources required to support each position depending on the industry. Specifically human, organisational, and physical resources appear to be viable sources of competitive advantage when they are leveraged by a strategy of quality/ customer service, innovation or cost leadership when the industry environment is conducive to the resource – strategy combination.

Vårt problemområde handlar om barns TV- och filmerfarenheter i förskolan. Vårahuvudfrågor är: Vilka erfarenheter ser vi i förskolan som barn har fått genommassmedia samt hur kommer dessa till uttryck? Hur möter förskollärarna dessaeventuella erfarenheter? Hur ser förskollärarna på att tillvarata barns TV- ochfilmerfarenheter i förskolan? Vi tar utgångspunkt i det sociokulturella perspektivet. I vårframtida roll som förskollärare är det av stor vikt att vi känner till barns erfarenheter,även de från TV och film. Vi måste känna till vad det är barnen ser på för att kunnahjälpa dem att ifrågasätta och reflektera kring vad de har sett. Vårt syfte medundersökningen är att synliggöra barns TV- och filmerfarenheter i förskolan och se hurdessa tas tillvara i verksamheten. Vi har använt oss av observationer och intervjuer, påtvå förskolor, bland barn som är fyra till fem år och deras förskollärare. I vårundersökning kunde vi tydligt se att alla barn vi observerat någon gång använde sig avsina TV- och filmerfarenheter, däremot var det olika hur de bemöttes i verksamheten.

Syftet med denna studie är att undersöka hur fyra förskollärare upplever att tre- till femåriga förskolebarns samspel påverkas av deras TV- och filmupplevelser. Frågeställningarna berör på vilket sätt förskollärarna upplever att TV och film påverkar barns samspel positivt och/eller negativt. Fyra förskollärare vales med hjälp av idealtypiskt urval och intervjuades med hjälp av öppna frågeställningar vilka förväntades ge oss möjlighet att fördjupa oss i vad informanterna sett och upplever när det gäller förskolebarnens TV- och filminspirerade samspel. Det teoretiska ramverk som använts i analysen av intervjuerna är Sociala aktiviteter, Medierade aktiviteter samt Kreativa aktiviteter. Dessa bygger på Strandbergs tolkning av Vygotskij och den Sociokulturella teorins tankar kring utveckling och lärande. Resultaten visar på att förskollärarna upplever att TV och film bidrar med delad kunskap, artefakter, karaktärer samt regler vilka blir verktyg som hjälper barnen att hitta vägar in i samspel. Brist på delad kunskap kring TV och film, samt okreativa förhållningssätt till regler och karaktärer hämtade från TV och film blir hinder för barnen i deras samspel.

Denna undersökning grundar sig på erfarenheter där jag sett att rita är en aktivitet som uppstår spontant i stort sett alla dagar på förskolan och jag anser därav att det är relevant för min profession att undersöka denna aktivitet närmare. Syftet med undersökningen är att bidra med ökad kunskap om ritandet som spontan aktivitet och jag valde av den orsaken att rikta blicken mot vad, varför och hur barn ritar. För att undersöka aktiviteten ville jag även fånga pedagogers förhållande till- och avsikter med det spontana ritandet. Resultatet av undersökningen berättar att då barnen ritade som del av den fria leken var målet för barnen att rita något föreställande. Resultatet visar även att det finns flera möjliga svar till varför barn ritar. Med hjälp av teorier har jag fått en bild av hur barn ritar. De använder invanda mönster i sitt bildspråk och skapar nya bilder med hjälp av minnesbilder och imitation av andras bilder. För pedagogerna är ordet bearbeta ett ord som används flera gånger om barns bildskapande. Att barn använder ritandet som redskap för att bearbeta intryck eller upplevelser är något jag varken kunnat fastställa eller negligera. Att samtala som komplement till ritandet verkar vara essentiellt samtidigt som motivval inte verkar, för barnen, vara av stor vikt.Analysresultatet har även utvecklats till en gestaltning, en film som visar de slutsatser som dragits.

Syftet med denna studie är att granska hur barns handlingar i förskolans sociala miljö inramas, filmas och diskuteras av förskollärare genom filmdokumentation samt på vilket sätt barnen är delaktiga i användningen av film. Frågeställningarna i studien är: Hur inramas och diskuteras barns handlingar av förskollärare i användning av film som dokumentation? På vilket sätt är barnen delaktiga i att använda film? Studien är baserad på några förskollärares upplevelser av fenomenet i fråga och är en kvalitativ studie där personliga intervjuer har genomförts. I tidigare forskning redovisas hur barn påverkas av film i förskolans sociala miljö samt förskollärares kunskap om film och dess konsekvenser. Genom socialsemiotik framgår hur förskollärare ser på film och bilder på olika sätt beroende på hur vi ser på vår omvärld. I resultatet framträder tre teman, varav de två första behandlar vilka effekter film får för barn samt förskollärare i förskolans sociala miljö och det tredje berör vilka konsekvenser detta får för barnens handlingar. I diskussionen besvarar vi studiens frågeställningar genom att beskriva vilka konsekvenser filmarbetet får för barnens handlingar i arbetet med film. Studien visar att förskollärare behöver utveckla sin kunskap kring filmarbetet i förskolan då det finns många olika aspekter att ta hänsyn till innan filmarbetet påbörjas.

Denna studie tar avstamp i den förändrade skrivningen om barns integritet i förskolans kommande läroplan (Lpfö 18) vilket relateras till tidigare forskning som vittnar om stora brister i förskolans arbete med barns integritet i samband med dokumentation. Syftet med studien är att, ur både barns och förskollärares perspektiv, undersöka barns integritet i samband med dokumentationsformerna fotografi och film. Mer specifikt behandlas barns förståelse av dessa dokumentationsformer, barns rätt att säga nej till att bli fotograferade och filmade samt förskollärares sätt att arbeta för att göra barnen medvetna om och ge dem förutsättningar att värna om sin integritet i samband med fotograferande och filmande i förskolan. Studien baseras på intervjuer med fyra förskollärare och fyra barngrupper inom en och samma enhet men skilda förskolor. Resultatet analyseras utifrån de teoretiska utgångspunkterna barnperspektiv, barns perspektiv, barns vuxenperspektiv samt Shiersdelaktighetsmodell. En central skillnad mellan studiens resultat och tidigare forskning är att etik och integritet i förskolans dokumentationspraktiker tycks mer uppmärksammat än tidigare visat. Utöver detta framkommer att barnens förståelse för dokumentationsformerna fotografi och film kan ses som ett resultat av deras egen erfarenhet och utgör endast en del av den förståelse de vuxna har. Det barnen ger sitt medgivande till kan därmed inte sägas omfatta dokumentationens fullständiga syfte utan endast det som de är medvetna om. Ytterligare ett framträdande resultat är barnens tydliga entusiasm inför att bli fotograferade och filmade. Rätten att säga ja tycks således viktigare för barnen än rätten att säga nej. Utifrån detta konstateras angelägenheten i att problematisera det behov av synliggörande som barnen ger uttryck för.

Denna uppsats beskriver en studie av svensk-ryska barns konsumtion av ryskspråkiga animeradefilmer och filmernas effekter för barnens språkutveckling och lärande. Studien bygger dels på enwebbenkät, dels på intervjuer med rysktalande föräldrar som bor i Sverige. 75 föräldrar till barn iåldrarna 1-11 år besvarade webbenkäten. Sammanlagt ingår 81 barn i enkätundersökningen. 9föräldrar till barn i åldrarna 2-6 år intervjuades. Majoriteten av barnen visar tecken på att filmernabidrar till en ökning av ordförrådet. Övervägande delen av föräldrarna uppger dessutom att filmernager upphov till samtal och inspirerar barnen till lek. Studien visar samband mellan barnensfilmkonsumtion och faktorer som ålder och färdigheter i det ryska språket. Effekterna av deryskspråkiga animerade filmerna för utvecklingen av barnens språkfärdigheter och föräldrarnas syn påbarnens mediekonsumtion diskuteras i ljuset av den sociokulturella teorin och Pierre Bourdieus teoriom disposition och kapital.

The main aim of this dissertation is to examine the different childhood discourses permeating Swedish children’s cinema. This is done through close readings of three films that, each in their own way, play an important role in the history of this tradition: THE CHILDREN OF FROSTED MOUNTAIN (Rolf Husberg, 1945), THE CHILDREN OF BULLERBY VILLAGE (Olle Hellbom, 1960) and ELVIS! ELVIS! (Kay Pollak, 1977). Other subjects analysed are media debates about children’s film from the periods in which the films were produced, as well as official reports on the same subject. Taken as a whole, these elements form a significant body of material, describing the notions of children and childhood, as well as ideas around children’s film as medium, that predominated in Swedish society at three given moments in the 20th century. The study shows, that the most striking characteristic is that ever since 1945, when the first film specifically made for children was produced in Sweden, such films have been created with the intention of ‘benefiting’ the young audience. This ‘cinema of best intentions’, in turn, contains a number of attributes that are not always as unequivocally positive as they might initially seem. One of the main starting points for this exploration comes from modern childhood studies, according to which every given time and culture has its own complex of ideas, understandings and representations of children and childhood. Another central theoretical source is Michel Foucault. His ideas of power and knowledge, discipline and oppression, as well as his methodology, permeate this study. From this point of view, there is an aspect of ‘best intentions’ children’s cinema that can be seen as imposing ‘the oppression of benevolence.’ The closing discussion shows how the Swedish children’s film, today as always, is inhibited by factors such as faithfulness to the written original, fear of upsetting the young audience and commercial demands.

This study aims to show pre-school children's conceptions on combustion and their thoughts on the conditions the process include. The data collection method this study used is through interviews. All of the children interviewed attend pre-school. All children who participated in the study are six years old. The interviews touched on different issues of fire, such as, how to start a fire, how to maintain a fire and how to extinguish a fire. Previous research about children’s conceptions and children and fire is the basis of the survey. The survey has shown that the children's explanations cannot be compared with the scientifically accepted theories even if the children seem to have some understanding about the conditions that are needed in the chemical process of fire. The children has mentioned fuel and heat as the main conditions for fire, while many has an uncertainty against oxygen. One of the children has shown a greater understanding of the purpose of oxygen. The children's knowledge about this subject mainly comes from experiences in an environment where caregivers is present. Suggestions for what preschool teachers can work with within the occupation has been show.
Denna studie har som syfte att visa på förskolebarns föreställningar om förbränning och deras tankar om de förutsättningar processen innefattar. Datainsamlingsmetoden som studien har använt sig av är intervjuer. Alla barnen som intervjuades går i förskolan. Alla barnen som deltagit i studien är sex år gamla. Intervjuerna berörde frågor om eld, så som, hur man startar en eld, hur man upprätthåller en eld och hur man släcker en eld. Tidigare forskning om barns föreställningar och barn och eld ligger till grund för undersökningen. Undersökningen har visat att barnens förklaringar inte kan jämföras med vetenskapligt vedertagna teorier även om barnen verkar ha en viss förståelse om vilka villkor som behövs i den kemiska processen eld. Barnen har nämnt bränsle och värme som de viktigaste förutsättningarna för en eld, medan många har visat en osäkerhet kring syre. Ett av barnen har visat en större förståelse för syrets betydelse. Barnens kunskap inom detta ämne kommer främst från upplevelser i en miljö där vårdnadshavare är närvarande. Förslag för vad förskollärare kan arbeta med i verksamheten har påvisats.

This master's thesis deals with assessment of information system in the company Spielberg s. r. o. Theoretical part includes issue of information system and explanation of each method which is used in a following analysis. Shortcomings which are found thanks to the analysis are elaborated and the changes of information system and eliminations of the risks are proposed. This part of this thesis shloud lead to the improvement of the current situation.

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The present work proposes reconstitute, spatially, the places of night entertainment from Cidade Baixa district, since the beginning of Dictatorship until the year of 2006. Due your intrinsic relation with Bom Fim, the places of this neighboring district also are collected, as well as the nearby areas with which divided the public and shared routes, moves and uses. The dissertation covers four periods of the district, trying to demonstrate the public differences, motivation and desired spatial characteristics of the nightlife interaction places from the area. It tries to localize spatially the most significant nightly entertainment places of each period, from crossing sources, information in periodicals (interviews and reports), area publications and testimonials from people who have experienced these moments. In the first period (from city foundation until 1964) are presented the urban changes and the consolidation of morphologies and typologies at Bom Fim and Cidade Baixa, and their memory elements. In the second (1964-1985), during the Dictatorship, demonstrates the growth phase of Cidade Baixa associated to its nightly use, from a public migration of Bom Fim to its territory, motivated by the opposition to the current regime, manifested in subversive pamphlets, and subsequently enhanced by the closing of the bars of this neighboring until the Esquina Maldita. In the third moment (1985-1995), treats of the development of the other point of bars in Bom Fim district, its height and the violence taking the place, which reaches a high level that precludes the use of space, inducing the migration of its visitors to other parts of the city, especially for the Cidade Baixa district. In the fourth period (1995-2006), treats of the transformation of this district, from the ultimate “closing” of the nocturnal leisure spaces of Bom Fim and the development of Cidade Baixa from the creation of Nova Olaria Cultural Center. The work finalizes showing the propensity of local growth. The research builds physical-territorial maps, registering and locating the development of this space while nightlife place, and its links to the surrounding areas. The research tries to contribute with the knowledge of the city, of its history and memory.
O presente trabalho propõe-se a reconstituir, territorialmente, os espaços de lazer noturno do bairro Cidade Baixa, desde o início da Ditadura até o ano de 2006. Por sua intrínseca relação com o Bom Fim, os lugares deste bairro lindeiro também são levantados, assim como os das áreas próximas com as quais dividiram o público e partilharam rotas, deslocamentos e usos. A dissertação percorre quatro períodos do bairro, buscando demonstrar as diferenças de perfil social, motivação e características espaciais existentes nos lugares de convivência social noturna da área. Busca localizar as mais significativas unidades de espaços de lazer noturno de cada época, a partir do cruzamento de fontes, informações em periódicos (entrevistas e reportagens), publicações da área e depoimentos de pessoas que vivenciaram estes momentos. No segundo (1964-1985), durante a Ditadura, é apresentada a fase de crescimento da Cidade Baixa, associada a seu uso noturno, a partir de uma migração de público do Bom Fim para seu território, motivada pela oposição ao regime vigente, manifestada na panfletagem subversiva e posteriormente potencializada pelo fechamento dos bares deste seu lindeiro: a Esquina Maldita. No terceiro momento (1985-1995), trata-se do desenvolvimento do outro point de bares no Bairro Bom Fim, seu auge e a instalação de violência no local, que atinge um nível tão elevado, impossibilitando o uso do espaço, induzindo à migração de seus frequentadores a outras partes da cidade, principalmente para o bairro Cidade Baixa. No quarto período (1995-2006), trata-se das transformações deste bairro, a partir do “fechamento” definitivo dos espaços de lazer noturno no Bom Fim e do desenvolvimento da Cidade Baixa, em função da criação do Centro Cultural Nova Olaria.O trabalho é concluído mostrando a tendência de crescimento local. A pesquisa produz mapeamentos físico-territoriais, registrando e localizando o desenvolvimento deste território como lugar de vivência noturna e suas ligações com áreas do entorno. A pesquisa busca contribuir com o conhecimento da cidade, de sua história e memória.

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The present work proposes reconstitute, spatially, the places of night entertainment from Cidade Baixa district, since the beginning of Dictatorship until the year of 2006. Due your intrinsic relation with Bom Fim, the places of this neighboring district also are collected, as well as the nearby areas with which divided the public and shared routes, moves and uses. The dissertation covers four periods of the district, trying to demonstrate the public differences, motivation and desired spatial characteristics of the nightlife interaction places from the area. It tries to localize spatially the most significant nightly entertainment places of each period, from crossing sources, information in periodicals (interviews and reports), area publications and testimonials from people who have experienced these moments. In the first period (from city foundation until 1964) are presented the urban changes and the consolidation of morphologies and typologies at Bom Fim and Cidade Baixa, and their memory elements. In the second (1964-1985), during the Dictatorship, demonstrates the growth phase of Cidade Baixa associated to its nightly use, from a public migration of Bom Fim to its territory, motivated by the opposition to the current regime, manifested in subversive pamphlets, and subsequently enhanced by the closing of the bars of this neighboring until the Esquina Maldita. In the third moment (1985-1995), treats of the development of the other point of bars in Bom Fim district, its height and the violence taking the place, which reaches a high level that precludes the use of space, inducing the migration of its visitors to other parts of the city, especially for the Cidade Baixa district. In the fourth period (1995-2006), treats of the transformation of this district, from the ultimate closing of the nocturnal leisure spaces of Bom Fim and the development of Cidade Baixa from the creation of Nova Olaria Cultural Center. The work finalizes showing the propensity of local growth. The research builds physical-territorial maps, registering and locating the development of this space while nightlife place, and its links to the surrounding areas. The research tries to contribute with the knowledge of the city, of its history and memory.
O presente trabalho prop?e-se a reconstituir, territorialmente, os espa?os de lazer noturno do bairro Cidade Baixa, desde o in?cio da Ditadura at? o ano de 2006. Por sua intr?nseca rela??o com o Bom Fim, os lugares deste bairro lindeiro tamb?m s?o levantados, assim como os das ?reas pr?ximas com as quais dividiram o p?blico e partilharam rotas, deslocamentos e usos. A disserta??o percorre quatro per?odos do bairro, buscando demonstrar as diferen?as de perfil social, motiva??o e caracter?sticas espaciais existentes nos lugares de conviv?ncia social noturna da ?rea. Busca localizar as mais significativas unidades de espa?os de lazer noturno de cada ?poca, a partir do cruzamento de fontes, informa??es em peri?dicos (entrevistas e reportagens), publica??es da ?rea e depoimentos de pessoas que vivenciaram estes momentos. No segundo (1964-1985), durante a Ditadura, ? apresentada a fase de crescimento da Cidade Baixa, associada a seu uso noturno, a partir de uma migra??o de p?blico do Bom Fim para seu territ?rio, motivada pela oposi??o ao regime vigente, manifestada na panfletagem subversiva e posteriormente potencializada pelo fechamento dos bares deste seu lindeiro: a Esquina Maldita. No terceiro momento (1985-1995), trata-se do desenvolvimento do outro point de bares no Bairro Bom Fim, seu auge e a instala??o de viol?ncia no local, que atinge um n?vel t?o elevado, impossibilitando o uso do espa?o, induzindo ? migra??o de seus frequentadores a outras partes da cidade, principalmente para o bairro Cidade Baixa. No quarto per?odo (1995-2006), trata-se das transforma??es deste bairro, a partir do fechamento definitivo dos espa?os de lazer noturno no Bom Fim e do desenvolvimento da Cidade Baixa, em fun??o da cria??o do Centro Cultural Nova Olaria. O trabalho ? conclu?do mostrando a tend?ncia de crescimento local. A pesquisa produz mapeamentos f?sico-territoriais, registrando e localizando o desenvolvimento deste territ?rio como lugar de viv?ncia noturna e suas liga??es com ?reas do entorno. A pesquisa busca contribuir com o conhecimento da cidade, de sua hist?ria e mem?ria.

This dissertation explores and theorizes the work of American artist Matthew Barney through the concept of deadpan, and situates it in relation to themes of hybridity and animality in parallel histories of sculpture, performance art, and film.

Dissertation

One of the most common questions of any artist is “Where did that idea come from?”— often closely followed by “What does it mean?” Like many of my films, Into the South started as a small inspiration but gradually attracted other ideas to it, changing and morphing and growing like a great snowball rolled down a hill, picking up sticks and dirt and grass along the way. This report is a reflection of my preparations and experiences making the 35mm short film Into the South. It is weighted more heavily toward development and pre-production, with a few memorable moments and musings interspersed, mostly for my own benefit. But I will do my best to explain to the University where this idea came from, and what does it mean.
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碩士
國立臺灣大學
國際企業學研究所
100
E-books and e-book readers have been discussed in the publishing industry since 1990. Amazon launched Kindle in 2007. It has combined hardware, software, contents, wireless internet and platforms sucessfully and created a new business model and thus changed the ecosystem in this industry. With the popularity of digital reading, people have changed the habit of reading and consuming gradually. In the foreseeable future, relevent industries will rise and create another digital revolution. Based on value net model and co-opetition strategies proposed by Brandenburger & Nalebuff(1996), this research first provides analyses on e-reader industry. Then we put the representative firm Amazon in the center of value net and put Barnes and Noble, Sony in the Competitors block. After that we analyze the value net of Amazon and the relationships with other players. Furthermore, we analyze the co-opetition strategies of Amazon based on PARTS. Finally, we generalize the distict co-opetition characteristics and give suggestions in the e-reader industry for incumbent and potential firms. This research finds that there are two main co-opetition characteristics from the industry perspective. First, tablet PC and smart phone play the role of competitors and complementors simultaneously. Second, traditional publishers are also competitors and complementors. Besides, we can find four main co-opetition relationships in the value net of Amazon. First, e-reader firms like B&N Sony, tablet PC and smart phone compete capacity of suppliers with Amazon. They can also form purchasing alliance. Second, e-reader firms like B&N Sony, tablet PC and smart phone not only compete customers but also be regarded as complementors for Amazon. Third, publishers also play the role of digital content providers. Fourth, customers become individual writers and meanwhile become complementors of Amazon. Finally, this research suggests that the key success factor of Amazon lies not in the hardware but in the innovation of business model, contents and services, complementors and the capabilities of turning competitors into complementos. In addition, firms in e-reader industry can consider the following co-opetition strategies, including cooperation with publishers and writers, development of cross-platform apps, jointly procurement from suppliers, other complementors, imitation of competitors and provision of publishing platforms.

碩士
國立臺北藝術大學
電影創作學系碩士班
100
Mr. Barber , is a short film of a young self-growth and identity found in the original family. This story is about a college student - YoDe, because his mother is a mail-order bride , and his father is blind, so he did not like to talk about their family situation and friends. One day, responsible for make money to support their families the mother is sick, YoDe had to take over the esponsibility. During this process, he gradually learned to understanding the parents become the backbone of of the parents. Mr. Barber ,being of works of PTS (Public Television Service), and the other by the new Taipei Film Short Film grants and Council for Cultural Affairs narrative short film subsidies. The author insisted on using an HD camera to shoot the film. This is a melodrama film for depicting family love and relationship. In the meantime, the author went through script revision until 2 months before major shoot and shooting six days. The author when writing scripts, one after another to observe the the blind''s family and the families of mothers of foreign nationality, think of these disadvantaged groups, even if the environment is not good, but its life very tough perseverance, the vibrancy of the image let the author was impressed.Therefore, the film presents realism, can The author feel warm and loyal to bring the audience. The white hair of the parents'' for fear of children. This is the emotional bond between the description of father and son of the second film, following the my other short film Vip Bus . I think: Taiwanese exports of "love" are not used to say, we are always action.In the film, the story using "massage" and "shampoo" physical contact between father and son to express concern and encouragement.

碩士
國立臺北藝術大學
電影創作學系碩士班
101
The Barbershop is a story about confession and understanding among family members that interpreted by the relationship between an elder brother and his younger sister. The elder brother, Lin Sang, and his younger sister, Mei Mei, are raised by their mother who owned a barbershop where the place they grew up. Lin Sang has the talent from his mother and he is the candidate to inherit the barber shop. Twenty-five years ago, all of a sudden, Lin Sang left the place he grew up and went to Japan for an advanced training in haircuts. After such a long time disappearance, Ling Sang comes back to the barbershop unexpectedly just like the day he left. In the meanwhile, this man exposes the secret why he left for so long. The reunion of the families inspires Mei Mei who is facing the bottleneck both in her marriage and career to redefine the meaning of the happiness. The collaboration of the production of the Barber shop began from an acquaintance who was looking for potential film talents for a production house. He came for recommendations. Due to the wonderful experiences worked with the director and scriptwriter of a Public Television Service (PTS) drama Reflection, based on the good understandings, 3 of us decided to join the production house that referred by the acquaintance as a team. At the same time, PTS was recruiting proposals for PTS Life Story. Finally, the team decided to start the cooperation with the production house from sending the proposal of The Barber shop to PTS. The theme of the Barber Shop is conforming to the standard of “HD Film of PTS Life Story” with the subject of “WANT” for entering PTS’ public bidding of 2012. Based on it, the team developed the story about family relationships of “want to confess” and “want to understand”. Centered in “Evaporate the enmities and regain the happiness” to create the script. This project was supervised by the Graduate School instructor, Mr. Chine Sung Liao, who gave valuable advices. According to his instruction, the proposal was approved by the board of examination and get fund for filming from PTS. The Barber shop broadcasted had on January 13, 2012 via PTS. By comparing and analyzing three film productions of a documentary, Go Grandriders, and two dramas, the Beginners and Permanent Nobara, the study reveals that it is not only state the background of the stories, the sexual orientation of the male characters and the transition of female roles as the reference of character setting, but also elaborate each stages of the pre-production, filming, post-production, promotion and broadcasting from the angle of a producer in the article. This is my first full-length drama production with participating from the beginning of brain-storming, production and broadcasting that spent almost 12 months to join it. There will be discussions and sharing about each stage of this production in the thesis in the next stage.

碩士
國立臺北藝術大學
電影創作學系碩士班
103
The Barber Shop is an eighty-minute TV movie broadcast in the Life Story program on the Public Television Service (PTS) on 13th January 2013. It tells the story of a barber, Mr Lin and his sister. Lin left home years ago for unknown reasons. When he disappeared, his younger sister, Mei-mei, was left alone to run the family barber shop that their mother started. His sudden return naturally creates tension between brother and sister. Nevertheless, as Lin demonstrates his sincerity to compensate for the harm he caused back then, Mei-mei eventually accepts Lin again and comes to understand the reasons why Lin vanished into thin air at the time. In this essay, an analysis of theme, genre and creative process is carried out. In terms of subject matter, two films, About Her Brother (2010) and Beginners (2010) serve as important reference. The discussion focuses on the universal nature of “family” and the portrayal of the characters’ emotions. Moreover, it goes further to explore the meaning of the reconciliation between family members. When analysing the genre, The Wedding Banquet (1993) and Eat Drink Man Woman (1994), two melodramas similar to The Barber Shop are cited for comparison. Every aspect of the creative process of The Barber Shop, including scriptwriting, acting, cinematography, lighting, production design, costume design, editing and music, is thoroughly analysed. In the last section, an examination of this production is done and suggestions for improvement are proposed.