Dissertations / Theses on the topic 'Observational documentary'

There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes in Yang’s film illustrate the spirit of the questions that guide the aesthetic approach I have taken in my own documentary project. My thesis is composed of two parts: a video project and a research paper, the former of which is a documentary entitled Yi. Named after its primary subject, the film explores the intersections of transnational migrancy and cultural identity through a series of interviews that are intercut with scenes of everyday life that are shot in an observational style. The research paper that follows will situate the project within a specific historical, conceptual, and aesthetic context, before delineating how the cinematic composition of my documentary engages with this framework.

This study explores issues of technique, methodology and style in ethnographic/documentary films, with a focus on Sardinia. How are cultural realities constructed in documentary and ethnographic films? In what ways do practical filmmaking strategies reflect wider epistemological questions and ethical concerns? The thesis examines the general stylistic principles that have guided the making of a substantial body of documentary films about Sardinia. Attention has been paid to a range of different methods used by a select number of documentary and ethnographic filmmakers, covering important theoretical points on the distinctive set of technical, aesthetic and ethical problems embodied in the epistemology of their filmmaking practice. The study concludes that scholars should look for a more balanced fusion between film as a multisensory medium of ideas and forms of ethnographic enquiry conducted through language. The nonverbal elements and visual imagery in ethnographic/documentary films suggest obliquely that a kind of knowledge expressed in the concrete case requires an acknowledgment of domains of experience that often elude written expression.

This research is a small part of a bigger field of research made before by other authorsregarding the humans in the urban public space. It has a small context compared to otherstudies, but a big impact inside the community. It aims at finding answers to questions thatother researchers asked before, but under different circumstances and they displayed them through different ways such as documentary films (The social life of small urban spaces 1980, How to live in a city 1964).After experiencing the city life of Malmö and some questions have been raised, the concept of resilience intersected with the interest of social public life in a neighbourhood. In order to have the theoretical framework to answer the research question, the thesis follows a literature review, where the concepts of resilience, urban resilience, resilient urban design and social resilience have been explored.Next, after exploring the city of Malmö, some case studies have been chosen and studiedthrough direct observation in different months starting with March and various times of theday. In the methodological approach section the methods are explained as well as a detailed presentation of the biggest tool used for this research: observational drawing. The tools used for the observation are field notes, observational drawings and photographs. The cases are spread throughout the city and are located in neighbourhoods with different urban tissues. The results reveal all the observational drawings made during the field visits and the field notes written. They show how people use the spaces in all three case studies depending on the weather or other external factors.The discussion reveals the complexity of the relation between concepts and the empiricaldata, following the initial aim of the research throughout the discussion. This thesiscontributes with important outcomes to the field of urban studies creating awareness about the urban context and its influence on people. The findings of this study show a diversity and creativity of users in using the public space.

(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

The film is about a newly arrived Japanese student's initial period of adjustment at the University of North Texas. This observational documentary film follows the student and witnesses the student's first reactions to various social environments. The purpose of this creative thesis project was to depict the difficulties that international students encounter at the beginning of their stay in America. The initial goal of the video was to provide useful visual research material to people who are interested in the acculturation of foreign students. Because of its realistic character, the video can give its audiences a more immediate and vivid picture of foreign students than existing written literature. By giving an authentic portrait of the students' hardship and adjustments, the ultimate goal of this video was to increase the American people's appreciation of the difficulties encountered by foreign students who come to this country equipped with limited social assistance and resources. An accompanying production report describes the research process, the pre-production, production, and post-production stages.

Through a meeting of practice and theory this thesis shifts the locus of attention from the spectacle to the everyday practice of parkour. Using documentary filmmaking with anthropological intentions and extended access over a six year period, this thesis explores the subjective everyday lived performances and essence of parkour, as experienced by a select group of experienced practitioners, as well as those who were involved in parkour’s creation and development. Parkour is a multidimensional phenomenon that can be experienced as an art, training discipline, sport, set of values, and practice of freedom, depending on an individual’s motivations, cultural understanding and exposure to the history of the practice. The research establishes that parkour is an imaginative and particular way of thinking; remapping the landscape with ‘parkour vision’. Parkour transforms how one experiences, moves, connects and participates in the environment, challenging notions of normative behaviour, socialisation, identity and self-determining actions through explorations of, as well as expressions of the self. The results of which are a means to find a more authentic deeper inner sense of self, producing feelings of inclusion and an enhanced sense of freedom through the creation of an autonomous social body. Parkour encourages self-reliance and mutual co-operation whilst enabling participants to reclaim the wonderment and magic of the human experience, valuing confrontations of fear, pleasure and pain in transcending the real and imagined boundaries of one’s own limitations, play and freedom of expression. This thesis explores themes such as shared cinema, collaborative filmmaking, participant observation and issues of representation. Parkour is discussed theoretically from the perspectives of Eichberg’s work on body cultures, Foucauldian relations of power and technologies of the self, alongside Merleau Ponty’s phenomenology, Csikszentmihalyi’s optimal flow experience, Wellmann’s insights into networked individualism and Charles Taylor’s work on the search for an authentic self and the complexities of a modern identity. This thesis contributes to the growing field of research into body cultures and the continually evolving culture of parkour.

Ces dix dernières années, plusieurs centaines de web-documentaires ont été publiés sur Internet. Si ce format émergent connaît un succès d’estime important auprès des professionnels des médias, son design ne va pas de soi. Dès lors, comment les théories du cinéma documentaire et des médias informatisés éclairent-elles les métamorphoses médiatiques caractéristiques de ces « nouvelles écritures » ? Quels sont les enjeux ontologico-esthétiques et communicationnels d’un documentaire interactif ? Quel rôle et quel pouvoir l’instance d’énonciation doit-elle octroyer à un « spectateur-actant » ? Afin de répondre à ces questions, un état des lieux de la production francophone permet tout d’abord d’établir une typologie des différents modes d’interaction. Ensuite, une approche ethnographique, fondée sur une observation participante du design de B4, fenêtres sur tour, au sein de France Télévisions, interroge l’ensemble des controverses socio-techniques et sémio-pragmatiques qui jalonnent les six mois de conception. Une analyse par théorisation ancrée met en exergue les différentes dimensions d’un Utilisateur Modèle négociées, de manière plus ou moins implicite, par l’ensemble des acteurs. Enfin, les usages supposés du web-documentaire sont confrontés à une évaluation de l’expérience utilisateur. Les jonctions et disjonctions entre les figures d’un Utilisateur Modèle, Statistique et Empirique contribuent in fine à mieux appréhender le design de ce format hybride et non stabilisé
In the last few years, several hundred interactive documentaries (i-docs) have been published on the Internet. If many media professionals prize the i-doc format, its design remains a challenging feat. Given this, what light do film documentary theories and digital media shed on the mediated metamorphoses that typify the “New Writings” movement? What are the communicational and ontologico-aesthetic issues of i-docs? What role and what power should an instance of enunciation accord to the “actant-spectator”?In response to these questions, our study of the current state of the French-speaking production scene brought to the fore a typology of interaction modes. Following this observation, an ethnographic approach, based on a participant observation method, questioned the overall sociotechnical and semio-graphic issues that marked the six-month design process of an i-doc called B4, fenêtres sur tour for the State-run France Télévisions. A Grounded Theory analysis of the data highlighted the different dimensions of a more or less implicit negotiated Model User used by the actors. Finally, the purported uses of i-docs were questioned in evaluating users’ experience. The junctions and disjunctions involving the interaction of the User, Statistical and Empirical Models contributed to a better grasp of the designing of the hybrid and non-stabilised i-doc format

The aim of this study was to analyse the role of the registered nurse in the management of pro re nata (PRN) medication in a care home (nursing) for older people. Studying PRN medication provides insights into the role of the nurse in care homes (nursing) who act as assessor, decision maker and evaluator in residents' care. It also provides a lens by which to explore how residents and their carers interact and participate in day-to-day care decisions about residents' health. The case study draws on ethnography. It is a multi-method study, using documentary and medication reviews, observations and interviews to answer the research questions. Thirty-four residents were recruited to the study and 60 care home staff. Findings showed that 88.2% of residents (n=30) were prescribed PRN medication and that all residents were on a minimum of 1 and a maximum of 7 medication. During each 28-day MAR sheet period between 35 and 44 PRN prescriptions were written. They contributed 12.7% of all medication prescribed, accounting for between 1.2 and 1.5 medication per resident. Nurses were found to administer PRN medication, but a finding of this study was that this activity could be delegated to carers who were identifying resident needs. There was some evidence of resident engagement but this was often a three-way process between resident, GP and family or resident, carer and nurse. A percentage of medication that could have been PRN were routinely prescribed. Observations also identified that nurses would decide not to administer routine medication in certain circumstances and that this was directly related to their assessment of the resident. The process of medication management was dominated by the regulations and governance processes of the care home. Observations and interviews found that care home staff recognised and affirmed residents' pain but did not take action for analgesia to be administered. They were familiar with the use of pain assessment tools for older people living with dementia and had received training in dementia care. Many of the staff were also able to interpret signs and symptoms of a resident's distress. Nevertheless, their preoccupation with meeting internal and external regulator standards was a barrier to addressing residents' needs. This is the first study that has looked at an aspect of medication management to understand how nurses and care home staff work for and with residents to moderate and address their health care needs. It suggests that additional training in aspects of medication management and resident assessment may not be able to address deeper seated issues of autonomy and how the nursing role is understood and enacted in care home settings.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-12T13:19:53Z No. of bitstreams: 1 Fernanda dos Santos Cerqueira.pdf: 3002404 bytes, checksum: 83ab6cfee792c4e48e732af6b40373ae (MD5)
Made available in DSpace on 2016-09-12T13:19:53Z (GMT). No. of bitstreams: 1 Fernanda dos Santos Cerqueira.pdf: 3002404 bytes, checksum: 83ab6cfee792c4e48e732af6b40373ae (MD5) Previous issue date: 2016-04-29
The present study had the objective of conducting a functional evaluation using different methodologies to identify and describe violent episodes in a municipal school in Goiania, Brazil. This study was divided into three phases: 1) Document Analysis; 2) Questionnaires and 3) Direct Observation. In phase 1, we analyzed the school’s incident book to identify, classify, and describe violent and non-violent behaviors (nondisciplinary), and identified their frequency of occurrence as well as antecedents and consequences. In total, 126 incidents were recorded, 67 of which were considered nonviolent and 69 that were considered violent. Among the violent recorded behaviors, “physical aggression” was the most frequent with 31 occurrences; among nonviolent behaviors, highest occurrence was “not doing homework”, with 20 recorded episodes. The most frequent antecedent was “disagreement with a classmate” (4 incidents) and consequence was “sent to principal’s office” (7 incidents). Questionnaires in phase 2 had the goal of identifying what the school’s students, teachers and staff report about certain aspects of school violence. Fourteen teachers, 15 staff members and 270 students participated in this phase. Results show that most students (93%), teachers (100%) and staff (80 %) have observed some kind of violence at the school. The type of violence most reported by students was “bullying” (68%); teachers and staff reported “verbal aggression” (93% and 67%, respectively). About 50% of students, teachers, and staff reported some violence-related activities in school and stated they felt safe in the school. Regarding interpersonal relationships in the school, teachers have a negative perception in terms of relationship between students (67%), and between teachers and students (44%). In phase 2, we conducted Direct Observations with audiovisual recordings of 6 students and 10 teacher which had the following objectives: producing behavioral categories of teachers and students with appropriate and inappropriate behaviors to verify whether there is a difference between two groups of students in terms of number of appropriate and inappropriate behaviors; identifying whether there is a difference in the types of consequent behavioral categories of teachers in the student-teacher relationship and calculating the frequency of different behavioral categories of teachers that appear as antecedent stimulus and/or context for the categories of appropriate and inappropriate students’ behaviors; and identifying the frequency of different types of teachers’ behavioral categories that occur after students’ behaviors, pointing out the most frequent ones. Concerning inappropriate behaviors, they were more frequent by “problem students” (196), than “well-behaved students” (112). Regarding consequences emitted by teachers, we observed a high rate of “No Consequence" In all three phases of this research, we observed that teachers do not produce consequences for appropriate or inappropriate behaviors emitted by students. Thus, we identified a need for interventions based on data obtained from functional evaluations that may produce effective change on violent behaviors.
Este estudo teve como objetivo realizar avaliação funcional por meio de diferentes metodologias visando identificar e descrever episódios de violência em uma Escola Municipal de Goiânia- GO. O estudo foi divido em três fases: 1) Análise Documental; 2) Aplicação de Questionários e 3) Observação Direta. Na fase 1 o livro de ocorrências foi analisado afim de identificar, classificar e descrever os comportamentos violentos e não violentos (indisciplinares), além de identificar a frequência de ocorrência dos mesmos, e seus antecedentes e consequentes. O total de 136 ocorrências foram registradas sendo 67 episódios considerados não violentos e 69 violentos. Dentre os comportamentos violentos registrados, “agredir fisicamente” obteve maior frequência com 31 ocorrências e entre os comportamentos não violentos a maior ocorrência foi de “não realizar tarefas” com 20 episódios. O antecedente mais frequente foi “desentendimento com o colega” (4 registros), e o consequente foi “encaminhado à coordenação” (7 registros cada). A fase 2 de Aplicação dos Questionários, teve como objetivo identificar o que alunos, professores e funcionários da escola relatam sobre alguns aspectos da violência escolar. Participaram dessa fase 270 alunos, 14 professores e 15 funcionários. Como resultados podemos verificar que a maioria dos alunos (93%), professores (100%) e funcionários (80 %) já observaram algum tipo de violência na escola; o tipo de violência mais relatadas pelos alunos foi o “bullying” (68%), e a “agressão verbal” foi relatada pelos professores (93%) e funcionários (67%). Cerca de 50% dos alunos, professores e funcionários afirmam haver alguma atividade sobre violência na escola e também afirmaram sentirem-se seguros na escola. Sobre as relações interpessoais na escola, os professores percebem-nas como ruins, tanto a relação entre alunos (67%), como a relação entre professores e alunos (44%). Na fase 3 utilizou-se a Observação Direta com gravações áudio visuais de 6 alunos e 10 professores objetivando: elaborar categorias comportamentais dos professores e dos alunos com comportamentos apropriados e inapropriados para verificar se há diferença entre os dois grupos de alunos quanto ao número de comportamentos apropriados e inapropriados, identificar se há diferença nos tipos de categorias comportamentais consequentes dos professores na relação professor aluno e calcular a frequência das diferentes categorias comportamentais dos professores que aparecem como estímulos antecedentes e/ou contexto dado as categorias dos comportamentos apropriados e inapropriados dos alunos, além de identificar a frequência de diferentes tipos de categorias comportamentais dos professores que ocorrem após os comportamentos dos alunos, apontando as mais frequentes. No que se refere aos comportamentos inapropriados, observou-se maior frequência nos alunos problema (196) comparativamente aos alunos comportados (112). Quanto às consequências emitidas pelos professores, observamos grande índice de “Nenhuma Consequência” e o antecedente com maior frequência foi o “Explicar”. O comportamento mais emitido pelos alunos foi a “Interação com o Colega/inapropriada”, e os consequentes emitidos pelos professores foi “Responder” no grupo de alunos comportados e o “Advertir”, no grupo de alunos problema. Nas três fases da pesquisa foi possível observar que os professores para a maioria das ocorrências não liberam consequências dado os comportamentos emitidos pelos alunos, tanto para comportamentos apropriados como inapropriados, identificando assim a necessidade de intervenção que se pautada nos dados obtidos através da avaliação funcional pode produzir mudanças eficazes no comportamento violento.

The following report on ARC 696: Advanced Architectural Design Studio: Alley Flat Initiative, at the University of Texas at Austin in the Spring of 2010 taught by Prof. Louise Harpman and visiting Prof. Sarah Gamble asks how new knowledge is acquired through the in-depth study and reconstruction of documentary recordings taken from a semester of the studio. The recordings were made of the activities that transpired as a result of the educational studio design process, interactions with educators, reviewers, community partners, clients, professional architects, contractors, citizens and the unique sites that were chosen for consideration. The narrative of the studio was then reconstructed into the language of film and supervised by Anne Lewis of the Department of Radio Television and Film at the University of Texas. Through observation, I have recorded the process by which the Alley Flat Initiative attempts to create a unique educational experience for students by exposing them to real life actors in the creation of housing that is affordable, green and mitigates the forces of gentrification. In the recording process, I documented the initial design question posed to the studio, the formation of design partnerships between students, the collaborative engagement of students and clients, faculty and community reviews, stumbling blocks in the process, the negotiations between the concepts of affordability and sustainable design, interactions between the students and stakeholders, and student reflections on their experiences as participants in the Alley Flat Initiative studio. The focus of film is to create a body of research that is easily transmitted on the student’s ability to learn design through exposure to real clients, a real site and a chance that their design might be built. Further, the research seeks to make recommendations that can be implemented into the organizational language of future Alley Flat Studios in the School of Architecture at the University of Texas at Austin. This report will: (1) lay the groundwork for the methodology that was incorporated into the recording; (2) review existing literature on the subject of filmmaking as a means to conduct research; and (3) reveal the findings of the research and implications for future service learning projects. Therefore, the report will serve to contextualize elements of the research that were not able to be addressed by the film.
text

Neste trabalho de projeto pretendo mostrar o esforço extraordinário feito ao longo de mais de trinta anos por uma instituição, que ao longo deste tempo criou várias valências na área social, criando pelo caminho uma Escola de Rugby, a Escolinha de Rugby da Galiza. Este relatório descreve o percurso que fiz e as motivações pessoais que levaram à captação das imagens recolhidas durante a realização deste documentário, e discute questões de estilo e dispositivos observacionais que se ligam à própria identidade do documentário como género cinematográfico.
In this project work I plan to show the extraordinary effort made over more than thirty years by an institution that over this time has created several services in the social field creating at the way a Rugby School, the Galiza School. This report describes the route and personal motivations that led to the capture of images collected during the making of this documentary. It discusses questions of style in the observational film, and the identity of documentary as a cinematic genre.

A comunicação audiovisual praticada por instituições de Ensino Superior em Portugal ainda é uma ferramenta pouco explorada hoje em dia, e nos poucos exemplos que se conseguem observar, encontramos abordagens essencialmente do campo da publicidade onde se pretende criar e moldar a realidade, ‘melhorando-a’ aos nossos olhos. Tratando-se de instituições de carácter1 social e não de empresas puramente viradas para os interesses económicos, interessou-me analisar que outras estratégias de representação audiovisual seriam possíveis adoptar. Neste estágio, tentei analisar o espectro de abordagens já utilizadas por diversas instituições e apresentar uma solução de abordagem documental e observacional aplicada à produção de conteúdos institucionais, através do caso específico do Departamento de Comunicação e Arte. Este relatório descreve todo o processo decorrido ao longo destes 11 meses, onde pude analisar e estudar a comunicação audiovisual em instituições de ensino superior, produzir alguns conteúdos audiovisuais institucionais e ainda uma longa metragem documental intitulada Fora de Palco. Nesta visão pessoal alargada, com influências de Frederick Wiseman, procurei adoptar um estilo marcadamente autoral e independente, que me permitisse complementar a missão do estágio, com a vontade do meu eu-realizador.
Audiovisual communication practiced by Higher Education Institutions in Portugal is still a little explored tool nowadays, and in the few examples that can be detected, we discover approaches essentially from the field of advertising where one intends to create and shape reality, 'select it' in our eyes. Since these are institutions of a social nature and not companies purely focused on economic interests, I was interested in analyzing what other possible audiovisual representation strategies to adopt. At this stage, I tried to analyze the spectrum of approaches already used by different institutions and present a documental and observational approach solution applied to the production of institutional content, through the specific case of the Department of Communication and Art. This report describes the entire process that took place over these 11 months, where I was able to analyze and study audiovisual communication in higher education institutions, produce some institutional audiovisual content and also a feature-length documentary film entitled Off Stage. In this broad personal vision, influenced by Frederick Wiseman, I tried to adopt a markedly authorial and independent style, which would allow me to complement the internship's mission, with the will of my director-self.

碩士
國立臺南藝術大學
音像紀錄與影像維護研究所
105
I participated in the “Tainan Nan Sheng Group Spring Music Festival” in 2015. And followed with attending some lessons taught by music teacher Chang Bo-Chung, this has led me to join the “Tainan Municipal Sishu Elementary School Nanguan Team”. With further studies about the “Nanguan” music, I came to know there is a long history of this beautiful Chinese classical music, which is in its neglected stage but do existed some 200~300 years in Taiwan. Nanguan music related stories were told throughout the years, and begun from receiving the honor of “Ching guests before the Emperor“, named by Kang Hsi in the Ching Dynasty, meaning the kind of music that can be played in front of the king. Furthermore, the oral history from teacher Chang, together with his records about the Nanguan music, as well as the creation process of "Our Nanguan Story" documentary had all become preservation of this intangible cultural asset. I always believe that finally the documentary has to face all the subjects and its audiences, so I focused my shooting on how this inherit will pass on to the children? How the children accepted the pieces? And how they look about the Nanguan music? But what fascinates me most derived from their mentoring friendship. The “Nanguan Music Life History” part raised by teacher Chang is yet to complete, and will be added to the paper for use in future research. Through the birth of my paper and "Our Nanguan Story" documentary, I hope to retain the cultural value of the traditional Nanguan music, and to provide a new reference for related researches in the future.

碩士
國立臺南藝術大學
音像紀錄研究所
95
“Learning” is the documentary which is told the story of Shiue when he has been a volunteer for AIDS for two years ago after leaving the army. The film shows his reflection of the issues of AIDS and drug-addiction according to his working experiences. Also, he shared gay culture and gay community as a queer. The part of the thesis introduced the history of the queer documentary in Taiwan and analyzed its image through the well-known ones which is also the text in this paper. Moreover, the thesis is the self-examination when referring to shooting the film as well.

碩士
國立臺南藝術大學
音像紀錄與影像維護研究所
99
For generations, fishermen have made their living by sea so they did not count on the land as much as farmers. In the case of Hong-Mao-Gang, a fish village in Kaohsiung, in which local residents did not register spontaneously their lands after Nationalist Party (KMT) ruled Taiwan. That has resulted in the major ownership of their lands shifted to the government, as well as a potential threat to the eviction of their several-hundred-year homeland. In 1960s and 1970s, the state adopting economic developmentalism by constructing wharves and planned industrial districts along the port of Kaohsiung. The then prosperous and populous Hong-Mao-Gang was also included in the big project for development. Since then, the villagers have endured a long, dark period. They were prohibited from renewing houses. And the terrible industrial pollutions made the local living conditions worse and worse. Not to mention the lengthy but controversial eviction of Hong-Mao-Gang finally came to an end, which shows government brutal and unlawful ways of removing people’s houses in spite of protests. Now the land of Hong-Mao-Gang is owned by the Kaohsiung Harbor Bureau, but it has been left to Yang-Ming Marine Transport Corp via BOT (build, operate, transfer) for 50 years. Some of the villagers are first settled in a given, empty area, but they come to realize that cannot afford building new houses. As a result, they could not choose but sell the land to property developers, so they moved again, with only one-third of them could survive there. Such evicted villagers lost their homes, lands and a hope of solidarity. Only few of them are still fighting for their rights through legal processes. The Documentary, “Homeland Evicted”, took five year to record this eviction process of Hong-Mao-Gang from villagers’ lived spaces to newly settlements. It aims to capture the impact

碩士
華梵大學
建築學系碩士班
99
With the announcement and execution of the Cultural Heritage Conservation Act, the restoration for ancient architectures in Taiwan began to emphasize more on related research and investigation. However, the concepts and values on how to preserve and conserve are still ambiguous. Thus lots of precious ancient architectures built by famous craftsmen, were totally changed or reduced for its value after restoration. Take a restoration project, the conservation treatments of polychromy wooden objects of Shui Xian Temple in Chiayi County, for example. It was designed and restored by Tainan National University of the Arts while “professional construction management” was done by an an architect office with an engineering management approach against the restoration quality. When we look back on the process of the project, we gradually found that under the current restoration mechanism in Taiwan, it is hard to quantify the polychromy restoration, performed in the “scientific restoration approach”, into engineering quality management. Although the persons practiced polychromy restoration with their profession, the quality of its result has to face the challenge of the architecture's structure limit and pests. Part of the paper focuses on the expectation of the restoration result: how to practice the international restoration concept “authenticity” with coordination of the temple users ' ideas and habitual behaviors. In the research of the paper, it is discovered that most of the polychromy restoration cases in Taiwan were done by “restoration” or “reproduction” approach, which are categorized as “habitual approach”. And since the related regulations, for example, Cultural Heritage Conservation Act, are ambiguous, most of the polychromy restoration cases were done in “habitual approach”. The restoration result of Shui Xian Temple can be a reference option for future cases. The restoration exam mechanism and the research purpose for the project have not much in common on their directions and professions thus it is hard to have a common discussion. However, “Public Construction Quality Management Regulations” do not define polychromy restoration for ancient architectures in detail, hence the restoration purpose and quality request are not clear. Comparing the polychromy restoration cases in Taiwan and in other countries, they have the same target – to “restore” ancient architectures, while cases in Taiwan have something different: “lacking for authenticity” - same restoration styles and forms & focusing on the restoration of structure. The purpose for Tainan National University of the Arts to perform the restoration is “to preserve the works of Chen, Yu-Feng” and which result has to be examed by its “Authenticity” to see if Chen's works are preserved properly and completely. It tried to adopt the excellence of other countries' cases and meanwhile remain traditional Taiwanese culture values. It still requires time to verify if scientific conservation approach is appropriate in Taiwan for restoration against polychromy of ancient architectures. The problems and handling process during the professional construction management of the Shui Xian Temple project are valuable references to current polychromy restoration in Taiwan.

Punk rock provided not only a watershed of creativity, innovation and a do-it-yourself spirit to a culture saturated in the mainstream, it physically brought like-minded people together in a community, or rather extended family, which in today’s hyper-d.i.y. culture, is progressively declining. As early as the 1940s, theorists such as Adorno and Horkheimer warned us about alienation in a society increasingly dependent on technology. By looking to punk, and other resilient and robust counter-cultures, perhaps we can find solutions to the pitfalls of the ‘culture industry’ (Adorno, Horkheimer, 1944). My thesis, consisting of a feature-length documentary film and textual analysis, is a culmination of: ethnographic research into the punk scene in my own community; theoretical research into the sociology, ethnography and subculture theory; and my own subjectivity. My personal findings are presented to offer insight into punk philosophy and to spur discourse, rather than deliver an objective account or didactic reproach.
Graduate