Academic literature on the topic 'National film award'

This research studies and explores the effects of panoptic power and how powerful it is. Basically, the study examines the technological advancement controlling people and their behavior. Aparna Thomas’ source for this study is Rituparno Ghosh’s multiple award winning feature film, “The Last Lear”. Rituparno Ghosh is a Bengali director who won more than a dozen of awards for his contribution to Indian cinema. Rituparno made this film in English language and the film won the National Award from the Govt. of India.

Mel Gibson's movie Braveheart tells the story of the life of William Wallace, one of Scodand's great national heroes. Originally released in the late spring of 1995, the film received predominandy glowing reviews, and later in the year enjoyed a second run in theatres as Paramount Studios began marketing the film for consideration in the many end-of-the-year awards shows. Early in 1996 Mel Gibson was honoured at the Golden Globe Awards as the year's Best Director, and in March of the same year, Braveheart won five Academy Awards, including another Best Director award for Gibson as well as the award for Best Motion Picture of the Year.

The article showcases the similarities between Joseph Nye’s concept of soft power and Pierre Bourdieu’s theory of capital, and attempts to draw upon the latter to deepen the understanding of the role of culture as a source of soft power. This approach is applied to study the role of a national film industry as a soft power tool. First, based on the existing academic literature, some key concepts relevant to the film industry are conceptualized in terms of Bourdieu’s theory of capital. After that, Bourdieu’s research frameworks – particularly, the concept of cultural capital – are used to describe how national film industry contributes to a nation’s cultural influence on the global stage. The author specifically highlights the importance of consideration of “institutionalized cultural capital” (or institutional recognition) and presents some evidence on film awards, namely, the awards from three large European film festivals (Berlin, Venice and Cannes) and Academy Award for Best Foreign Language film. It is emphasized that European countries (such as Italy and France) and the U.S. are in advantageous position in regard to this component of cultural influence: motion pictures produced by these countries receive awards very frequently, while, for instance, African and South American films are awarded scarcely. Such tendencies demonstrate unequal possibilities of countries for the use of national cinema as a tool of cultural influence. The author asserts that a national “soft power strategy” can be seen, in terms of Bourdieu’s theory of capital, as a capital conversion strategy, and discusses the implications of such approach. Furthermore, the applicability of Bourdieu’s theory of capital for the analysis of Russian cinema as a soft power tool is discussed. In conclusion, the author summarizes theoretical and practical implications of the proposed approach, draws attention to some of possible directions for further research.

Morris Beja in his book Film and Literature: An Introduction , said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM). Keywords: film adaptation, history, Cathay Keris, Malay Film, Merdeka Studio Abstrak Morris Beja dalam bukunya Film and Literature: An Introduction , mengatakan bahawa sejak Anugerah Akademi diperkenalkan pada tahun 1927 – 1928, lebih kurang tiga per empat anugerah untuk filem terbaik telah dimenangi oleh filem adaptasi. Keadaan ini merupakan bukti bahawa filem adaptasi adalah satu bentuk seni yang telah lama mendapat perhatian masyarakat dunia dan menjadi corak naratif yang terkenal pada abad ke-19 dan ke-20 di Eropah. Makalah ini mengambil inisiatif untuk menelusuri sejarah filem adaptasi secara umum dengan memberi tumpuan kepada filem adaptasi di Malaysia. Dapatan kajian mendapati sejarah filem adaptasi di Malaysia melalui liku-liku perjalanan yang panjang bermula pada tahun 1933 sewaktu zaman perusahaan Cathay Film dan Malay Film di Singapura hingga ke Merdeka Studio di Kuala Lumpur sekitar tahun 1970- an dan seterusnya. Industri filem di Malaysia berdepan dengan pelbagai masalah termasuk lambakan filem import dari Indonesia dan faktor komersialisme yang tidak menjamin keuntungan. Walau bagaimanapun sekitar tahun 2006 usaha mengadaptasi karya sastera ke filem terus diperkasakan melalui bengkel dan pertandingan anjuran badan kerajaan di Malaysia seperti Dewan Bahasa dan Pustaka (DBP), Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) dan Radio dan Televisyen Malaysia (RTM). Kata kunci: filem adaptasi, sejarah, Cathay Keris, Malay Film, Merdeka Studio

The Washington University Libraries Film and Media Archive has received a grant from the National Film Preservation Foundation to preserve Code Blue, a 1972 recruitment film aimed at bringing minorities into the medical profession. Code Blue is one of the earliest existing films created by Henry Hampton’s Boston-based documentary company Blackside Inc., which produced the Emmy Award-winning civil rights series Eyes on the Prize. Blackside became the largest African American-owned film production company of its time and was home to many filmmakers from diverse backgrounds, including African Americans, immigrants, and women. The 27-minute documentary includes footage from an emergency room in Harlem, a tour through areas of Nashville with a doctor who did outreach to poor families, and discussions with young men and women from different backgrounds who could explain the value of medical education. Code Blue helped to bring new talent into the medical field and was used in hundreds of high schools and medical training curricula nationwide for more than 20 years. The film won a CINE Golden Eagle Award and was seen around the world, including at film festivals as far away as Venice’s Festival dei Popoli.

Madam Fuli(1999) is an award winning creation of Shahidul Islam, the director of the film. It is one of the most remarkable films in Dhallywood, the Film Industry of Bangladesh, which won the National Film Award afterwards for its storyline and stunning acting by the protagonist’s (Fuli) cast Shimla. This film gave a jolt to the contemporary social systems of Bangladesh regarding our attitude towards the skin color of women and also towards our concept of beauty. Through the portrayal of various stage of Fuli’s life, the director, Shahidul Islam Khokon, who is the producer and the screen-play writer of this film, takes attempts to show what are the things and incidents a girl or a woman go through in the society in Bangladesh. By putting a tagline as ‘Fight for Right’ the director wants to visualize the struggle of a woman in the society of Bangladesh. But somehow, this film actually encourages the same follies and vices of the social practices that it intends to resist. This article shows how Madam Fuli actually waters into the roots of the same old racist concept of beauty.

Dr Shirin Haque was born in the village of Patna, India and came to Trinidad at the age of seven without being able to speak English and having no formal education. Dr Haque has pioneered the cutting-edge field of Astrobiology at the University of the West Indies and was interviewed by the BBC for a feature Science in Action for the research on the Pitch Lake, the largest natural hydrocarbon lake in the world. She is the founding member of CARINA (Caribbean Institute of Astronomy) and the founder/CEO of W.I.S.H. (Women In Science for Hope) Foundation. She holds numerous teaching and research awards regionally and internationally. She has also distinguished herself as a film producer with three science documentaries. She has hosted and produced two television series “Exploring our place in the Universe with Dr. Shirin Haque” and “Full S-T-E-A-M Ahead!” She is currently the editor of the magazine “The Intellectual – Art, Science and Architecture”. Her Honours and Awards corresponds to: • Anthony N. Sabga Caribbean Awards for Excellence in Science and Technology 2020• CARICOM Science Award 2018 – first female recipient• Outstanding women of UWI Award – 2018 • Rudranath Capildeo Award for Applied Science and Technology - 2013• “Women in Science and Technology” medal award from NIHERST - 2011• Vice Chancellor’s Award for Excellence in Teaching 2005 - UWI• Distinguished Teacher award from Association of Atlantic Universities - 2004• UWI/ Guardian Life premium teaching award - 2002• “The Most Outstanding Thesis Award, 1997 and 1998” UWI (PhD)• Program Director for the NINE hub programme for the Caribbean through for the National Science foundation and NRAO.

The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and dealing with subjects easier for the audiences to identity themselves with. The plots revolving around the present day and the ramifications of the socialist era prevail. In general, Bulgarian films of the recent decade are in visible demand at international film festivals, attracting the attention of foreign film critics. Awards, however, are not necessarily passports for good reception in the homeland`s milieu. Such is the case with Mina Mileva, Vesela Kazakova’s directorial duo (Actvist 38) and their two controversially documentary films Uncle Tony, Three Fools and the Secret Service (2013) and The Beast Is Still Alive (2016). An analysis of their works shows that reverting to the subject of totalitarianism and the attempt at reaching a consensus-based memory onscreen are still risky in Bulgaria’s cultural environment. Their new full-length future film – the emigrant social comedy-drama Cat in the Wall (2019, warmly accepted and awarded abroad) - surprisingly received the national Golden Rose Debut Award 2019, but the Bulgarian critics` stays still undeservedly reserved.

Ruskin Bond, Indian author of British decent, was born on 19 May 1935 at Kasauli, Himachal Pradesh. He was raised at Jamnagar (Gujarat), Shimla and Dehradun. He is a well-known Indian writer in English. He has written more than hundred short stories, six novels, three collection of verse and over thirty books for children. He is considered to be an icon among Indian writers and children’s author and a top novelist. He received Sahitya Academy award for his book; Our Trees Still Grow at Dehra in 1992, and was honored with Padam Shree in 1999 for his lifetime contribution to Indian literature in English. He was awarded with Padam Bhusham in 2014. He has been writing for the last fifty years in different genre of literature. His stories and novels got wide publicity worldwide in India. Various directors produced films on his novels. He was also appreciated by various prizes and awards at national level. In 2005, the Bollywood director Vishal Bhardwaj made a film based on his popular novel for children, The Blue Umbrella. The movie won the National Award for best Children’s film. It is a fine specimen published in 1992. This novella has also been filmed in 2007. It is set in a small village of Garhwal, where a little highland girl, Binya lives. She trades her lucky leopard claw pendent with a picknicker lady for a pretty blue umbrella.

Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.

碩士<br>國立清華大學<br>工業工程與工程管理學系<br>99<br>The effects of National Quality Award on the market value of the award-winning firms is an ongoing study in foreign countries, but relevant studies are difficult to find in Taiwan. This study empirically examined three issues related to the market valuation of firms that undergo effective quality improvement programs (which sometimes are referred to as Total Quality Management or TQM) using Taiwan National Quality Award as the indicator that an effective quality improvement program has been implemented. First, comparing the NQA Index (which represents National Quality Award winners’ stock price performance) with the Sector Index (which represents public traded companies’ average stock price performance of the sector), no statistical evidence was found to support the assumption that the stock performance of the quality award winners is superior to the average rate of return on the Taiwan stock market. Second, we used the “event study” methodology to measure the stock price effects of quality award announcements. The component attributed to firm-specific events is typically referred to as the “abnormal” return. Our results show that the abnormal return reacted positively to quality award announcements, but did not occur on the announcement day. Third, we increased the number of event days and proceeded the microanalysis of the individual award winners. These additional days were available to examine whether or not the risk of the firm changed after winning a quality award. Our microanalysis revealed that 75% of the award winners experienced positive average abnormal returns, indicating that implementing an effective quality improvement program could provide a long-term return to the market value of firms.

碩士<br>國立清華大學<br>工業工程與工程管理學系所<br>106<br>Total quality management (TQM) is a key to success in competitive world. To encourage the companies to fully conduct TQM in production process, Taiwan government set up National Quality Award (NQA). This study investigates the short term impact of award-winning news on the market price by using exponential smoothing and resilient backpropagation. This study also extends to the long-term observation by comparing the return on investment (ROI) between award-winning companies and market sector indices. It concludes that the stock price of the award-winning company may be upward in short-term, but no significant stock fluctuation in large parts of them. Furthermore, there is no evidence showing that there is significant contribution to the stock price comparing with the market sector indices in the long run.

碩士<br>國立高雄第一科技大學<br>行銷與流通管理所<br>98<br>Third-Party Organization (TPO) endorsements in terms of winning awards and top rating has grown increasingly popular in recent years. However, less empirical studies in the marketing literature have investigated whether the accumulation of TPO endorsed awards affects a firm''s market value measured by Tobin''s q. This study focused on investigating the relationship between a firm''s market value and its accumulated TPO endorsed awards by using a five-year cross-sectional data from a sample of 131 listed companies covering PC & peripheral, network communications and opto-electronics industries. The empirical results indicate that TPO endorsed awards, particularly of the national type and the corporate brand image type significantly affect a firm''s market value. That is, the higher a firm''s accumulated density of these types of awards is, the greater is the firm''s market worth.

This chapter highlights Ashutosh Gowariker's Lagaan (Land Tax, 2001). An epic essay on cricket, the British Empire, and the collective will of a group of village farmers, the film joined the ranks of an elite group of Indian films to be nominated for an Academy Award. Lagaan quickly acquired the label of a contemporary classic and revived the career of film star Aamir Khan. The chapter offers a detailed and critically engaged study of the film. It covers areas such as the audience response to the film; representations of the British Raj; colonialism and imperialism; song and dance as narrative storytelling; the ideological value of religion; and the sports film as a vehicle for exploring national concerns.

Kannada- language film,Bettada Hoovu of 1985 directed by N. Lakshminarayan and produced by late Parvathamma Rajkumar whose late son Puneeth Rajkumar (1975-2021) was a child artist in the lead role played the naïve Ramu. His performanceearned him the National Film Award for Best Child Artist. Deccan Herald ratedthe film number one among the best “children’s movies in Kannada”. The film won three Filmfare Awards South. Dr. Shirley L Arora, an American writer, and Indian ‘bahu’ married to Harban is actually the contributor of the story from her novel What Then Raman? It is irony that she has hardly made any place among anglophile Indian readers. She is less known and oblivious to the passage of time.

This chapter asks what happens to the conventions of the road movie, and in particular its ethos of resistance, when younger and older generations hit the road together in Nordic films of the 2000s. In raising this question I discuss the use of road movie conventions in two Finnish road movies, the fictional Road North (Mika Kaurismäki, 2012) and the documentary Finnish Blood Swedish Heart (Mika Ronkainen, 2012), which both feature stories of father–son pairings driving together towards a new kind of understanding of their roots. The films offer two ways to see how road movies, in essence, work between the national and the transnational. Road North depicts a road journey inside the borders of Finland. Finnish Blood Swedish Heart, in comparison, is profoundly transnational anyway in its subject matter of a father and son duo driving from Finland to their past in Sweden, but film was also financed as a Finnish–Swedish co-production and, before being awarded as the best Finnish documentary of the year, it received the Dragon award for the best Nordic documentary at the Gothenburg International Film Festival 2013.

The aim of this chapter is to consider Sibelius as a popular historical narrative, discussing it in relation to the mechanisms of historical explanation as well as the mode of argument and address used in the film. As reference points I shall discuss certain other Nordic biopics made during the last few years. Biopic seems to be one of the prominent genres in Scandinavia in the 2000s. Monica Z (2013), for example, has been a huge success in Sweden, and Kon-Tiki (2012) – on the Norwegian explorer Thor Heyerdahl – broke into international markets and became a Norwegian Academy Award nominee. As a genre, biopic seems to be both culturally specific and universal at the same time. While addressing a predominantly national audience, Sibelius also shares many, if not most, of the generic characteristics analysed by George F. Custen (1992) in his classic study of the genre, even if Custen is talking about Hollywood films. And indeed, Hollywood has also produced countless biopics about non-Americans, including Scandinavians like the author Hans Christian Andersen (1952) or the composer Edvard Grieg (Song of Norway, 1970).

The conclusion discusses phenomena not addressed elsewhere, such as novels in production at the same time as their film adaptations (as in Christine Leunen’s Caging Skies(2019), adapted by Taika Waititi as Jojo Rabbit (2019)) as well as Indigenous and partly-Indigenous films made from settler-colonial cultural texts, as in Jeff Barnaby, Kent Monkman, and Caroline Monnet’s short films made from pre-existing footage from Canada’s National Film Board about Indigenous people and the Australian film Ten Canoes, derived from ethnographic photographs and co-directed by Rolf De Heer and Peter Djigirr. Although we see some mainstreaming of Indigenous cinema and culture through Waititi’s Academy Award for Best Adapted Screenplay and his land acknowledgment at the Oscar pageant, it remains the case that not all texts or their adaptations circulate in the same way or with the same reach within and across the global cultural marketplace. However, when these stories reach us from across and via the global cultural marketplace, it is our responsibility not just to take pleasure in them, or take them at face value, but also to consider other versions of these stories, who has told them, and for whom.

In the introduction to this volume, “Michel Gondry as Transcultural Auteur,” editors Marcelline Block and Jennifer Kirby present an overview of Gondry’s career as well as this volume’s approaches to Gondry’s oeuvre. Born in Versailles, France in 1963, Gondry is an Academy Award-winning transnational (France-USA) and transcultural (French-American) auteur whose body of work as a writer, director, and producer spans multiple genres—including feature film, short film, television, documentary, music video, big budget superhero film, romantic comedy, the road movie, advertisements—and languages (English, French, Japanese). In this respect, Gondry can be considered a contemporary globalized auteur whose films and other works display continuities and eclecticism. In addition, this introduction presents an overview of each of this volume’s sections and chapters in terms of how they identify connections and continuities between Gondry’s films while placing Gondry’s oeuvre in dialogue with French and American cinematic traditions and socio-cultural contexts. The introduction puts forth this volume’s main contention, namely that “Gondry is emblematic of transnational auteur filmmaking…crossing aesthetic and cultural borders between national film industries as well as between art and popular cinema and between media” and how Gondry’s oeuvre defies classification according to traditional conceptions of European art cinema.

Abstract This chapter argues that U. R. Ananthamurthy’s 1976 novella Bara represents the Indian National Emergency (1975–1977) through ellipses. In the narrative, the bureaucratic machinery of the central and state governments colludes with self-regarding local leaders to exacerbate an ongoing ecological crisis—the titular “bara,” or drought—therefore worsening its impact on the depicted community in rural Karnataka. By situating its allusive form against patterns of representation in the anglophone literature of the Emergency, and alongside the National Award–winning Kannada film adaptation by M. S. Sathyu (1980), the chapter offers an intermedial, comparative analysis of Bara and its imagination of postcolonial Indian modernity. The chapter examines the novella’s linguistic idiosyncrasies and translational makeup to argue that “instability”—as feature and aesthetic—marks its form, its philosophy, and its negotiation of Emergency politics.

Abstract South Koreans’ flair for creating innovative musicals is correlated to their skill at composing unique musical hybrids that mix Western and Korean national styles. The twenty-first century has seen a blossoming of innovative music—utterly unlike K-pop—that combines Korean heritage music with Western international styles and undermines the distinction between popular song and classical music. In the twenty-first century, Korean musical theatre has developed a unique style that draws on traditional idioms while expanding the horizons of the Broadway-style musical. It has even started incorporating traditional Korean music theatre, pansori, into musicals, most notably in an award-winning adaptation of the landmark 1993 film Seopyeonje.

This chapter examines cult Asian cinema in the UK at the very peak of its critical acclaim and commercial success, and the drastically altered context for Asian film reception will be discussed. This chapter argues that the proliferation and high visibility of a wider range of Asian cinema than critics had ever experienced before has allowed them to finally construct their own canons of quality within national Asian cinema industries and genres. The frames of reference used by British critics to assess meaning and value have changed dramatically. At this point, too, Tartan’s brand had been transformed, achieving mainstream visibility, yet finding itself in danger of expanding to the point of losing authenticity and fracturing into meaninglessness. Nonetheless, 2004 was the peak year for Tartan, and a wide range of their releases and promotional (and self-congratulatory) activities are examined: the acclaimed release of bold new Hong Kong crime thriller Infernal Affairs (2002); the unprecedented success of Oldboy (2003), hot off its award from the Cannes International Film Festival; the critical debate inspired by the uncategorisable cult hit Save the Green Planet! (2003); and finally the scandalous (non-)release of Battle Royale II (2003).

Within a larger cultural exchange of information, investigative documentary makers balance creative artistry with journalistic practices while they navigate risk and security concerns in precarious times, and they play a vital role in democratic functioning by fostering public awareness and dialogue. These investigative documentarians are breaking new stories even as they face threats—legal, privacy, security, safety—that may be more profound given their location outside formal journalism institutions. Opening with the story of CitizenFour, Laura Poitras’s Academy Award–winning exposé of US National Security Agency spying through the story of whistleblower Edward Snowden, the film case studies here also include Southwest of Salem: The Story of the San Antonio Four, the documentary investigation of four lesbians wrongfully convicted of a heinous crime; and The Feeling of Being Watched, a first-person verité journey into government spying on the filmmaker’s predominantly Arab-American community outside Chicago.

Nowadays, one of the essential issues of any business is represented by CSR. Corporate Social Responsibility is also known, from a European view, as the “Responsible Business Conduct” of everyone, and so this paper highlights the importance of being responsible from early beginnings. Being actual “revolutionary forces”, entrepreneurs contribute to national wealth and growth, job creation, productivity stimulation, adaptation and innovation to meet ongoing changes in market demands. We analyze the conduct of young entrepreneurs and discuss their knowledge in the matter of CSR. We ask young entrepreneurs: What type of CSR actions their firms undertake? How their age and size of the firm influence CSR actions? Their answers are to be analyzed and discussed in a broader context as one of the European Union. Measuring CSR awareness among young entrepreneurs shows a significant increase at a macro level but still a low rate when looking at other UE countries. Our findings prove that entrepreneurs are aware of the concept and dimensions of CSR, but still, profit is more important. We conclude and highlight the importance of productive entrepreneurial activities supported by integrating CSR actions into the company’s strategy and development directions to ensure the balance between the company’s objectives and its interests.

The projects sponsored by the Gülen-inspired movement are numerous, international and costly in terms of human and financial capital. Critics of the movement often question the fi- nancing of these initiatives – with some convinced of collusion with Middle Eastern govern- ments, others (within Turkey) suspicious that Western governments are financially backing the projects. Aware of these criticisms, in a recent comment to a group of visiting follow- ers, Fethullah Gülen indicated greater financial transparency must become a priority for the movement. This paper addresses the financing of Gülen-inspired projects, based on interviews with busi- ness leaders in Turkey, as well as local businessmen throughout Turkey who constitute the financial infrastructure of the movement. In addition, the paper presents data from one local Gülen movement organisation in Houston, Texas, that collects thousands of dollars annually from local members, mostly students on small educational stipends. The paper is framed sociologically in terms of organisational theories of commitment. Beginning with Kanter (1972;1977) and including subsequent major figures in the organi- sational field (e.g. Reichers 1985; Meyer and Allen 1991; Hall 2002; Scott 2003), scholars have demonstrated a positive correlation between sacrifices asked of members and degree of commitment to the goals of the organisation. Using this perspective, the paper argues that the financial contributions made by members in the Gülen movement both demonstrate commit- ment to the ideals espoused by Fethullah Gülen and generate commitment to the movement. The paper presents empirical evidence, based on interviews with financial supporters both in Turkey and the U.S., of how financial resources are generated, the initiatives being supported and the impact of financial giving on the commitment of supporters. The Gülen movement is a civil society movement that arose in the late 1960s in Turkey, initially composed of a loose network of individuals who were inspired by M. Fethullah Gülen. As a state-approved mosque preacher, Gülen delivered sermons in cities throughout Turkey, beginning with a handful of listeners and gradually drawing tens of thousands of people. His sermons focused not only on religious texts but included a broad array of such topics as religion and science, social justice, human rights, moral values and the importance of education. Gülen repeatedly stressed the importance of educating the youth of society by establishing first-rate schools that expose students to the latest scientific knowledge in an at- mosphere of moral values. The projects sponsored by Gülen-inspired followers today number in the thousands, span international borders and are costly in terms of human and financial capital (Woodhall 2005). These initiatives include over 2000 schools and seven universities in more than ninety countries in five continents (Yavuz and Esposito 2003; Baskan 2004; Tekalan 2005), two modern hospitals, the Zaman newspaper (now in both a Turkish and English edition), a television channel (Samanyolu), a radio channel (Burc FM), CHA (a ma- jor Turkish news agency), Aksiyon (a leading weekly news magazine), national and interna- tional Gülen conferences, Ramadan interfaith dinners, interfaith dialog trips to Turkey from countries around the globe and the many programs sponsored by the Journalists and Writers Foundation. In addition, the Isik insurance company and Bank Asya, an Islamic bank, are af- filiated with the Gülen community. In 1993 the community also established the Business Life Cooperation Association (ISHAD) which has 470 members (Baskan 2004). Questions regarding the financing of these numerous and expensive projects are periodically raised by both critics of the Gülen Movement and newcomers to the movement who are invited to Gülen related events. Because of the large amounts of money involved in these projects, on occasion people have raised the possibility of a collusion between the movement and various governments, especially Saudi Arabia and/or Iran, and including the Turkish government. There has even been suspicion that the American CIA may be a financial partner behind the projects (Kalyoncu, forthcoming). Aware of these criticisms, in a recent comment to a group of visiting followers, Fethullah Gülen indicated that a priority must be proactive financial transparency. In this paper, we address directly the issue of the financing of Gülen inspired projects based on the little that is available in published sources, including an interview with Gülen himself, and supplementing that information with interviews with business leaders in Turkey who constitute the infrastructure of the movement. In addition, we present data from one local Gülen organization in Houston, Texas, that regularly collects over half a million dollars from local members, mostly students on small educational stipends. Our analysis is framed socio- logically in terms of organizational theories of commitment. We argue that the contributions made by rank and file movement members, as well as by wealthier sponsors, both demon- strate commitment to the ideals of the movement and simultaneously generate commitment to the movement. An analysis of Gülen-inspired financial contributions must include the ideological and reli- gious motivations inherent in the concepts of hizmet, himmet, sohbet, istisare, and mutevelli. For an understanding of these concepts, we are most indebted to the superb work of Mehmet Kalyoncu whose study of the Gülen movement in Mardin, a city in southeastern Turkey, was very helpful both in understanding these ideas and in demonstrating their applicability to the financing of local projects in the city.

This report analyses the Technological Innovation System (TIS) of Building Integrated Photovoltaics (BIPV) in Austria. The study’s scope is consistent with the IEA PVPS Task 15 report [1].The analysis aims to facilitate and support the innovation, development, and implementation of industrial solutions of BIPV technologies. In Austria, the use of BIPV is still a niche application and covers under 2% of all implemented PV systems [1]. BIPV technology in Austria has historically developed with the support of different public financial incentives, national and European. The history of BIPV is somehow tightened to the history of PV. The first BIPV prototypes were developed by PV companies in the framework of national or European research activities, with the first development and innovation projects starting around 2003. In general, it should be mentioned that in the last years, PV and BIPV companies have increased specialization in the production of BIPV, especially colored and semitransparent PV modules. In this regard, a wide range of variants are offered (printing, coating, films). The colored components are mainly purchased from glass companies or polymer film producers. Another trend in Austria is the production of transparent glass/glass modules for integration in facades, skylights, winter gardens, or courtyard roofing. In 2020, the government of Austria presented a program called EAG (Erneuerabre Ausbau Gesetz) or Renewable Expansion Act [3.3.1 Hard institutions]containing certain working points to be implemented by 2024. Some of the measures are directly or indirectly relevant to the BIPV development and installation. Such as the PV encapsulation films using interference pigment technology from Lenzing Plastics. This TIS assessed the BIPV market through eight functional areas and provided the following results: ⁃ The analysis of knowledge development showed that it can be classified as moderate. On the one hand, there are not enough training and further education opportunities in the field of BIPV available, but on the other hand, the PV manufacturers and research institutions are driving forward the development of knowledge in the field of BIPV. ⁃ Knowledge dissemination is well advanced internationally within the research community but insufficient at the practical, national level, particularly between the PV industry and the construction sector. Architects are demanding more information from PV manufacturers and suppliers, who share their information only irregularly with the architectural community. Usually, architects obtain this information from PV technology platforms through workshops, brochures, and projects. However, architects have to engage with it more extensively. The goal is to make BIPV more appealing to architects. Thus, we have to summarize that knowledge dissemination is inadequate/weak. ⁃ Entrepreneurial willingness to experiment can be classified as moderate. Overall, it can be said that there are four players in the Austrian BIPV market and a substantial number of newcomers and small innovative players who could take the role of innovation drivers. However, there are too few opportunities for highly specialized small companies. ⁃ Resource mobilization is well positioned financially and in terms of network services. However, and this is essential if we want to expand the BIPV market strongly, there is a lack of skilled personnel (human resources) to carry out the expansion, which is why this function is rated to only be moderate. ⁃ The scoring of social capital is weak. The connection where there is a lack of communication is between the (BI)PV planner and the architects. In most projects, the (BI)PV planner is not involved in the early stages of the building design process. In addition, conventional PV planners have no experience or are hesitant of planning BIPV systems. ⁃ The legitimacy is moderate, but as the acceptance of PV improves from year to year, the chance of better acceptance of PV integrated into the building, i.e., BIPV, also increases. However, there are still reservations and resistance towards individual, specific BIPV projects. This resistance could be reduced by increasing knowledge about the multifunctional possibilities of BIPV at the decision-maker and customer stage as well as by showing best practice examples - Guidance of the search is moderate, as there are no specific political targets for BIPV, but there are for PV. However, the government and relevant authorities aim to implement clean energy development positively and apply applicable policies and regulations. There is an increased subsidy for innovative PV solutions [2] which also includes BIPV. ⁃ It can be stated that the market formation of BIPV in Austria still offers room for improvement. When it comes to governmental-driven incentives and support for the BIPVmarket development, the missing technical standards (e.g., fire safety regulations) and the absence of regulatory obligations on renewable energies in the local building codes are the biggest weaknesses. The structural and functional analysis is followed by a coupled structural-functional analysis. This assessment will help identify weaknesses and strengths and recommend strategies that will enable the growth of BIPV from a niche market to a major market segment. The aim is for photovoltaics (PV) on buildings to be primarily designed as Building Integrated Photovoltaics (BIPV) to reduce additional costs. This, combined with the avoided costs for other components of the building, should result in cost parity with Building-Applied Photovoltaics (BAPV). It is also crucial to encourage all manufacturers of building envelope components to ensure that their products offer the dual benefit of serving as building components while also generating electricity. By doing so, such products can become standard in the industry. The transition from BAPV to BIPV was already analyzed in a 2015 BIPV brochure [2] from the Austrian Photovoltaics Technology Platform (TPPV), which discussed the advantages of an integrated solution versus an attached solution and outlined the necessary steps to make BIPV the standard for building PV. The recommendations are summarized as follows: i) It is important to involve (BI)PV in the early stages of the building planning process. ii) successful implementation projects must be made public through various channels to increase knowledge about BIPV technology and its possibilities (e.g., lighthouse projects in public buildings). iii) PV standards and construction codes have to be harmonized. iv) The Austrian government should stipulate the use of PV in the obligatory building specifications. v) Another recommendation would be to enact a law requiring every sealed area to be checked for dual use with (BI)PV. One positive development worth mentioning is the Climate Fund's Lighthouse call, which focuses specifically on integrated PV and offers higher grants for BIPV than the Renewable Expansion Act] , demonstrating increased interest and commitment to this technology. In addition, the TPPV Innovation Awards, which were awarded for the first time specifically for building-integrated PV and now include other topics of PV integration outside of buildings, are a sign that the industry is broadening its perspective and recognizing the importance of BIPV beyond traditional applications. These developments could help to further promote the acceptance and deployment of BIPV and drive innovation in this area. Nevertheless, it is important to consider the significantly higher costs of BIPV products, as well as the greatly increased planning effort that arises when PV becomes an integral building product.