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Johnell, Lukas. "Remake." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-231934.
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Lidström, Anna. "Remake: Design Foundations." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23927.
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leftovers, waste, and surplus generated by increasing production and consumption of material goods. Their problem is not new, and over the last decade the search for a solution has given rise to various theories about and technologies for resource recovery and waste management. In the fashion and clothing industry, designers have explored ways to reuse and remanufacture production and consumption waste and surplus before recycling material components on a fiber level, thereby aiming to realize greater environmental savings. While several examples of design practices building on different forms of reuse and remanufacturing approaches exist, foundational theoretical methods for design remain poorly researched. This thesis explores and analyzes the aesthetic potential in textile and clothing waste and surplus for new design expressions and functions. Fashion design students performed initial methodological explorations through practicing redesign to find central concepts in design thinking that present opportunities and challenges for remake methods. The exploration shows a challenge to go from thinking fashion design as a method of remembering, preserving and showing, to remake fashion design as a method of forgetting, destroying and searching. In this thesis one method has so far been developed. However, the findings point to several methodological challenges in selecting and reworking materials within the context of the remake. These methods need to be explored and developed further to strengthen remake models and practices, and the central characteristic of traditional fashion design thinking needs to be developed further for a fundamental shift in thinking towards remake and redesign fashion design.
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Philippe, Gaëlle. "Le remake-actualisation : une norme de création universelle ?" Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030046/document.
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Un remake-actualisation est un film reprenant l’intrigue et les personnages d’un film de même nationalité réalisé antérieurement. Le remake entretient donc une relation hypertextuelle avec son film source. Cependant, la réalité de son hypertextualité s’avère paradoxale à tous les stades de son existence. Sa production met en lumière différentes dynamiques qui ne coïncident pas nécessairement avec sa déclaration et encore moins avec son interprétation. Le remake cherche donc à se construire en tant que création tout en maintenant un lien plus ou moins marqué avec le film original. Qu’il soit télévisuel ou cinématographique, le remake devient le lieu de confrontation des différentes conceptions du média en question. Mais l’objet répond-il à une norme de création universelle ?L’universalité relative de l’objet illustre à la fois une unification de la conception la plus industrielle du cinéma et de la télévision et une nouvelle façon d’appréhender la création audiovisuelleAn updating remake is a movie which takes the plot and the characters from a filmof the same nationality released earlier. The remade film develops an hypertextualrelationship with its model. However, its hypertextuality is paradoxical at every stages ofits existence.Its production highlights different working-rules which do not necessarily match itsdeclaration or interpretation. The remake film aims at building itself as a creation and atthe same time, at maintaining a link more or less emphasized with the original motionpicture. Televised or cinematographic, the remake becomes the confrontation place of thedifferent media views. But does the object answer to a universal creative rule?The relative universality of the remakes both shows a unification of the mostindustrial conception of cinema and television and a new way to apprehend the audiovisualcreation
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Lynn, Emma. "Fan Remake Films: Active Engagement With Popular Texts." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615121429167803.
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Mee, Laura. "Re-animated : the contemporary American horror film remake, 2003-2013." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10596.
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This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. This thesis concludes with a discussion of the most recent horror remakes, and reiterates the findings from the preceding chapters. Ultimately, genre remakes remain prevalent because they are often profitable and cater for a guaranteed audience. They are commercial products, but also represent some of the more creative entries in horror cinema over the last decade, and their success enables further productions. Rather than being understood as simplistic derivative copies, horror remakes should be considered as intertextual adaptations which both draw from and help to shape the genre.
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Oltmann, Katrin. "Remake - Premake Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960." Bielefeld Transcript, 2006. http://d-nb.info/984273557/04.
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Oltmann, Katrin. "Remake - Premake : Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960 /." Bielefeld : transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960330&prov=M&dok_var=1&dok_ext=htm.
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Bergsmark, Moa. "From Patchwork to Appliqué : Exploring Material Properties Through an Interaction Design Remake." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-222233.
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Materials and materiality in interaction design has become more and more important perspectives within the field. Material explorations of a specific material could contribute to this ongoing discussion. As means to investigate how material properties affect interactive qualities for a tangible interaction design, a remake of an existing design was created. The starting point for remake is a tangible programming space for children called Patcher where custom built RFID readers is interacted with. For this investigation, Android mobile phones with NFC readers is the material of choice when recreating the same concept. Design values in Patcher are identified as collaborative play and open-ended programming play. The creation process of Alfombra Applique, the remake, is presented, the design choices and how they relate to the shift of material. This leads to learnings regarding how material properties differ when using the prebuild product with a lot of design possibilities in relationship to custom built hardware. These learning can be summarized into three topics. (1) When using a prebuilt product as material there will be more limitations to how a designer can change the material, it can only be bent using software. (2) A consumer market product opens up to getting the artefact available to more users, but it could depend on how the product normally is used. (3) The designer and users will have a lot more preknowledge of the material whish gives implications on expectations. Also, the paper investigates how exploring materials and having a bricolage mindset made it possible to create a meaningful remake with other material of an existing design. It is concluded that the choice of materials and how designers work with their properties changes what is relevant and possible to design.Inom forskningsfältet interaktionsdesign har diskussioner kring material och materialegenskaper blivit mer och mer viktigt. En typ av forskning som bidrar till denna diskussion är materialutforskningar. I denna artikel undersöks hur materialegenskaper påverkar designbeslut inom greppbar interaktionsdesign. Materialegenskapernas påverkan undersöks genom att återvinna ett existerande koncept från fältet och återskapa detta med andra material. Förlagan, Patcher, är en matta för programmeringslek där barn interagerar med RFID-taggar som läses med RFID-läsare som designerna själva hade satt ihop från komponenter. I den nya prototypen användes istället Androidtelefoner utrustade med NFC-läsare och NFC-taggar för dessa att läsa av. Från Patcher behölls grundidén och två designvärderingar att ta med till den nya designprocessen, dels vikten av att uppmuntra till samarbete samt användarnas självständighet att hitta på regler och mål med leken. Den nya designen får namnet Alfombra Applique. Designen, designbesluten och hur de är relaterade till materialbytet presenteras. Detta leder till resultat angående hur materialegenskaperna mellan egenkonstruerad hårdvara och en färdigkomponerad produkt, som en mobiltelefon, skiljer sig åt. Dessa resultat summeras till tre punkter. (1) Att använda en färdig produkt i skapandet av den här typen av greppbar interaktionsdesign gör det svårare att modifiera materialet, det är bara möjligt med mjukvara. (2) Det finns potential att nå fler användare av greppbar interaktionsdesign när materialitet är existerande produkter som många redan äger. (3) Förväntningar på en design förändras när användare och designer har mer förförståelse för föremålet och dess förväntade användning. Förutom detta visas hur metoden för undersökandet av materialen inspirerat från bricolage som var viktig för designprocessen gjorde det möjligt att återskapa ett existerande koncept. Detta leder till slutsatsen att vilka material som används och hur designern arbetar med deras egenskaper förändrar vad som är relevant och vad som är möjligt att skapa inom interaktionsdesign.
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Hallermayer, Evi. "Filme analysieren - Kulturen verstehen über Akira Kurosawas "Yojimbo" und seine beiden Remakes "Per un pugno di dollari" und "Last man standing"." Konstanz UVK-Verl.-Ges, 2007. http://d-nb.info/988911752/04.
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Stoppe, Sebastian. "Original und Fälschung: Alfred Hitchcocks Psycho und das Remake von Gus van Sant." Grin-Verlag, 2002. https://ul.qucosa.de/id/qucosa%3A20901.
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1998 wurde Psycho neu verfilmt; und das Besondere an diesem Remake war nicht, dass (wie bei Remakes eigentlich üblich) ein anderer Regisseur den Stoff neu interpretiert. Vielmehr sollte sich dieses Remake als nahezu exakte Replik des Originals herausstellen und rief damit kontroverse Diskussionen unter Filmkritikern hervor. Die Idee, ein so werkgetreues Remake zu produzieren, ist einzigartig in der Filmgeschichte. In dieser Studie soll der Fragestellung nachgegangen werden, ob und in welchem Maße das Remake als exakte Replik auch den gleichen thrill wie das Original bieten kann.
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Brunssen, Uwe. "Adaptations for the screen : William Golding's Lord of the Flies." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364977.
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Лисенко, В. М., and О. Ю. Савойський. "Перспективи переробки звалищного біогазу з полігонів ТБО м. Суми." Thesis, Сумський державний університет, 2016. http://essuir.sumdu.edu.ua/handle/123456789/47053.
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Однією з головних проблем захисту навколишнього середовища сьогодні є забруднення екосистеми твердими побутовими (ТПВ) і промисловими відходами. В роботі розглянуті можливості і перспективи використання звалищного газу з полігонів ТПВ, а також негативні сторони даного питання на прикладі закритого полігону ТПВ м. Суми, що розташований на землях Верхньо-Сироватської сільської ради.
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Degler, Rebecca. "'Say make me, remake me' : The Narrative Construction of Identity in Toni Morrison's Fiction." Thesis, University of Essex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486730.
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This thesis is a study of the presentation and construction of identity in the fiction of Toni Morrison. Taking as my premise the notion that identity is constructed as a social and dynamic process, I investigate its relationship with the very similar process of narrative. More particularly, by exploring various tropes and discursive strategies in Morrison's fiction, I argue that identity is, in fact, a function of narrative. The first chapter directly compares Morrison's second and last novels Sula and Love, respectively - to consider what approaches to identity are consistently relevant to a study of her work. Differences between her early presentation of identity and her later construction of it are noted. The second chapter argues for a consideration of generally dismissed characters in Song oj Solomon to see what so-called undesirable examples contribute to our understanding. Modes of self-articulation are examined for their construction of meaning and identity through form as well as content.
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Davies, Fiona Hilary. "Cast a cold eye on life, on death: the Remake: Medicalised Death in ICU." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21232.
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A medicalised death in an intensive care unit (ICU), a particular event in a particular site, is the starting point for this thesis. This specific event and the associated site, materials, processes, and critical definitions will be examined using an auto-ethnographic methodology within a practice-led research process. Looking first at the definitions of death and the process of that death being medicalised, there are many ways to determine when it occurs and when it is irreversible. Death is traditionally called at a point in time. My proposition is that in a medicalised context death is a period, not a point. It is a process. The manner in which a specific death is medicalised, being constructed as a medical problem, reflects a level of intervention within the economic, social, cultural, and technological contexts of an ICU. In ICU, breathing, circulation of the blood in its closed system and renal performance are the basics of keeping the patient alive. By keeping the heart pumping, maintaining the blood pressure and stopping leaks, a complex process of medicalisation is introduced into the care of the patient at that tipping point between life and death. Surveillance or monitoring within an ICU is both observation of the body and collection of data and its visualisation. The economics and the market conditions behind the supply of blood, blood products, and body parts frame the experience of this situation. Creative Component Art-making as a practice is the force driving this research process and the exhibition of the artworks is the public presentation of that research. My art and exhibition-making combine object, sound, moving image, installation and performance to demonstrate and make perceptible to others the practice-led research into the emotional landscape of this specific event, in this specific site. The exhibition embodies the temporal nature of a medicalised death in ICU; the initial adrenaline rush and feeling of time speeding up in the shock and panic of entry to ICU, the boredom of the liminal spaces when you are excluded from the ICU and the slow slide to acceptance. A performative lecture within the exhibition further engages the viewer with these concepts.
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Suboticki, Christoffer. "Auteurparadoxen : En uppsats om remakes." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9145.
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En uppsats som via bland annat diskursanalys försöker ta reda på varför det är så starka känslor och åsikter i ämnet remakes, eller nyinspelningar av gamla filmer. Uppsatsen tar reda på vilka mönster som finns i diskursen och följer dessa spår i ett försök att analysera just varför det är så pass starka åsikter som vädras exempelvis på internetforum och som dessutom underbyggs av kända recensenter. Uppsatsen försöker även svara på frågor som exempelvis varför är vissa remakes mer okej än andra, vad är det egentligen som irriterar med remakes och hur hänger alla dessa remaketankar egentligen ihop.
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Vardell, Dan. "Unmaking the remake : Lacanian psychoanalysis, Deleuzian logic, and the problem of repetition in Hollywood cinema." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/169793/.
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Repetition is inherent to cinema. From the complex interweaving of genre cycles and Hollywood stars to the elementary mechanism of film projection (twenty-four times per second): cinema is repetition. It is perhaps little wonder then that psychoanalysis is often thought of as one of the discourses with which to write about film in the 20th century. However, this thesis problematises both cinematic repetition and psychoanalytic film theory, stressing that each is haunted by a spectre: the remake, and the film-philosophy of Gilles Deleuze, respectively. Despite its critical opprobrium, I explore the remake not only as a viable object of cinematic scholarship, but one necessary in moving past the impasse of film studies identified by Timothy Corrigan (1991) as ‘historical hysteria’. My research turns to Deleuzian film theory as a counterpart, rather than replacement, of the predominant Lacanian model. This is, however, neither a defence of the remake nor of psychoanalysis, but, rather, an attempt to submit both to a radical reassessment that, as Lacan says, aims at giving you a ‘kick up the arse’ (1998:49). Eschewing the ‘example’ as a remnant of film theory’s current collapse in form, I suggest two ‘case studies’ for consideration, augmented by a cache of film references: (1) Gus Van Sant’s shot-for-shot remake (1998) of Alfred Hitchcock’s original Psycho (1960) as a ‘symptom’ of Hollywood’s self-cannibalisation; and (2) George Sluizer’s The Vanishing (1993), a Hollywood ‘auto-remake’ of his own Dutch original, Spoorloos (1988), as a ‘fetish’ of Hollywood’s desire in the European ‘Other’. Rather than expose Deleuze to a Lacanian framework I subject the one to a reading of the other in a möbius relation, turning them inside-out, so to speak. Mediating these two thinkers is Slavoj Žižek, a cultural theorist whose own ‘filmosophy’ is revealed from amongst his often frenetic writings. In so doing, I expose a dark underside to Hollywood repetition, one which provides some new tools for understanding the popularity of cinema’s most critically neglected discourse.
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Goetomo, Desmond. "Hollywood redux: A comparative study of film remake performance in the foreign and domestic box office." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1888.
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In the eyes of Hollywood producers, film remakes are popular endeavors to undertake. Part of the logic behind remakes is that they will likely perform successfully in the domestic box office because of the tried-and-tested formula that was the remake’s source material as well as the pre-existing fanbase. In addition, over the past two decades the international box office, particularly countries like China and Russia, are overtaking the United States in generating box office revenue. Hence, with the increasing popularity of producing remakes, as well as the growing significance of foreign markets for the entertainment industry, I test whether the international share of the box office is higher for remakes compared to other types of films. I control for several standard variables including type of film, genre, production budget, critical review score, recency of film, and number of installments in the film franchise. In conclusion, I find that although film remakes do not achieve significantly higher foreign box office shares, factors like sequel films, the horror genre, production budget and critical review scores play a significantly positive role in determining foreign box office share, thus indicating the preferences of foreign film audiences.
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Stendel, Andrea. ""It is myself that I remake" : Identitätsbildungsprozesse beim lyrischen Schreiben am Beispiel von W. B. Yeats /." Trier : Wissenschaftlicher Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb390818539.
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Silva, Leticia Segabinazi Dumas da. "O documentário interativo em novos media como instrumento de sensibilização para as práticas de remake no cinema ocidental." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/18597.
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Mestrado em Comunicação MultimédiaO presente trabalho pretende entender o fenômeno do remake, recurso cada vez mais utilizado pela indústria cinematográfica atual, e sensibilizar o público com interesse pelo tema, sobre as estratégias desenvolvidas pela indústria para atrair o público. Nas últimas décadas, houve um crescimento significativo de filmes produzidos pela indústria que repetem os mesmos conceitos de forma cada vez mais elaborada. Sendo assim, pretende-se identificar as diferentes possibilidades de remake, e propor uma nova taxonomia que contribua para o melhor entendimento e reconhecimento desta prática. Em posse da taxonomia já definida e da análise qualitativa de uma amostra de filmes, desenvolveu-se um documentário interativo que teve como objetivo principal ser instrumento para sensibilização sobre os diferentes tipos de remake identificados. Após a avaliação do documentário junto ao espectador, foi possível identificar que mesmo o público que assiste a filmes com alguma frequência considerou as categorias de remakes propostas uma fonte de informação relevante para um melhor entendimento e reconhecimento das estratégias criativas da indústria cinematográfica ocidental.
This work has the purpose to understand the remake phenomenon, a resource increasingly used at the current cinematic industry and to aware the target audiences about the theme, and the strategies developed by the industry to attract them. During the last decades, there has been an increase in numbers of movies produced with repeated and far elaborated concepts. Therefore, it´s intended to identify the various "remake" possibilities, and to propose a new taxonomy in order to contribute for a better understanding in this practice. With the taxonomy well defined and the qualitative analysis of some movies, an interactive documentary was developed with the main propose of being an instrument of awareness about the various types of "remake". After evaluation of the documentary among the spectator, it was possible to identify that the audience who watch movies on a frequent basis, considered the proposed categories a source of relevant information for a better understanding and recognition of the creative strategies used by the western cinematic industry.
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Zárate, Vásquez Julio Sebastián, and Paredes Andrés Aybar. "Elisabeth Soep. Participatory Politics. Next-Generation Tactics to Remake Public Spheres. The MIT Press Cambridge, Massachusetts, 2014, 97 pp." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115437.
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Eskilsson, Lina. "Återbruk av formgivet material : Juridiska och moraliska perspektiv." Thesis, Linköpings universitet, Estetiska avdelningen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-68962.
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Syftet med studien är att undersöka vad som är legitimt återbruk och användning av någon annans tidigare designat material, i nya formgivna produkter eller verk. Frågeställningarna som diskuterats i arbetet är; Hur mycket av någon annans tidigare formgivna material får återanvändas i kommersiella återbruksprodukter? Vad är legitimt bruk av ”ready-mades” i konstnärliga verk? Anses det vara ett konstnärligt verk när konstnären inte själv åstadkommit alla delar av verket? Dessa frågeställningar har diskuterats utifrån juridiska och moraliska perspektiv. Som metod användes en litteraturbaserad studie av juridisk litteratur som behandlar immaterialrätt, avgränsat till bestämmelser av lag i Sverige. De juridiska reglerna jämfördes sedan med etiska teorier. Resultatet av studien presenteras som en diskussion utifrån dessa perspektiv och applicerade på exempelfall.
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Pettus, Sydney M. "Say make me, remake me : exposing and subverting negative racial sterotypes in the works of Toni Morrison and Carrie Mae Weems." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/239.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Hedqvist, Hanna. "Kulturella uppdateringar i 2010-talets remakes : Användandet av digitala- och sociala medier i Carrie (De Palma, 1976) och Carrie (Peirce, 2013)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49875.
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Syftet med denna uppsats är att undersöka under vilka premisser adaptioner och remakes under 2010-talet använder sig av digitala- och sociala medier inom den diegetiska världen i en historia ursprungligen skapad i en tidsperiod där dessa teknologier inte existerade. Uppsatsen kommer utgå ifrån två huvudsakliga teoretiker inom fälten adaptionsteori och remakestudier; Linda Hutcheon och Constantine Verevis. De teknologiska hjälpmedel som används frekvent i dagens moderna samhälle, i underhållningssyfte såväl som praktiska redskap, är i ständig utveckling. I en diskussion med Hutcheons och Verevis publicerade teorier kommer uppsatsen utöka och uppdatera vad som sägs om kulturella uppdateringar i remakes i dagens filmindustri. Att en filmadaption betraktas som ett verk som bygger på en redan etablerad historia är sedan länge känt. En remake är en film vars historia har en föregångare inom samma konstform; rörlig media. Hutcheon definierar remakes som nära besläktat med adaptioner och därför kombinerar uppsatsen de två etablerade teoretiska perspektiven som är adaption- och remakestudier. Arbetet kommer utgå från redan utformade adaptionsformer och hur de ser på en remake med uppdaterat innehåll och ifall det, enligt dessa teorier, ses som något som är nödvändigt för att locka dagens filmpublik till biograferna. För att styrka dessa teorier på ett så klart och tydligt sätt som möjligt så innehåller uppsatsen en fallstudie; Stephen Kings publicerade roman om Carrie från 1974 som har fått ett flertal filmadaptioner sedan dess. Uppsatsen studerar två av dessa filmer närmare nämligen historiens första filmadaption Carrie (Brian De Palma, 1976) samt den senaste remaken Carrie (Kimberly Peirce, 2013). Båda filmskaparna har lämnat grundhistorien näst intill orörd från Kings roman men vad som skiljer den första filmadaptionen från remaken är hur den senare har uppdaterat de kulturella byggstenar vårt digitala samhälle idag förlitar sig på.
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Nasser, Mazen. "Kvinna eller man, gör det nån skillnad? : En analys av gender swap i Ocean’s Eleven och Ocean’s Eight." Thesis, Högskolan Dalarna, Bildproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-31637.
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Syftet med uppsatsen är att undersöka hur gender-swapping påverkar en films huvudkaraktärer och handling. Filmerna som analyseras är Ocean’s Eleven (2001) och Ocean’s Eight (2018) med hjälp av Jens Eders modell karaktärsklockan och Robert McKees teorier om protagonister. Uppsatsens resultat visar att filmerna är väldigt lika varandra men att huvudkaraktärerna, förutom det uppenbara bytet av kön, skiljer sig åt på sådant sätt att det påverkar filmernas handling på olika sätt.
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Grahl, Till. "“REENACTING” THE PLOT." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-138553.
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Das Phänomen Remake ist so alt, wie die Geschichte des Films selbst. Dennoch wird der Begriff immer wieder leichtfertig benutzt, weshalb sich die Arbeit zunächst um die Entwicklung einer praktikablen Arbeitsdefinition bemüht, welche Remakes im engeren Sinne von anderen Formen der Neuinszenierung abgrenzt, bevor in einem nächsten Schritt ausgewählte Original-Remake-Paare einer ausführlichen strukturellen Analyse unterzogen werden: Dazu werden die jeweiligen Filme in ihre einzelnen Szenen aufgegliedert und mit einem Plotschema - dem sogenannten Paradigma nach Syd Field und Hans-Ulrich Mohr - unterlegt, welches neben der allgemeinen Struktur des Films auch für die Handlung besonders relevante Szenen offenlegt und strukturelle Veränderungen offensichtlich macht, aus welchen Änderungen des Inhalts, der Handlungsrichtung und des Genres resultieren. Dazu werden die Neuverfilmungen ihren filmischen Vorgängern in direkter Weise gegenübergestellt, wodurch stilistische Mittel und inszenatorische Elemente sowie historische und kulturelle Zusammenhänge und strukturelle Unterschiede sauber ausgearbeitet und sichtbar gemacht werden können. Damit leistet diese Arbeit einen Beitrag sowohl zum noch spärlich ergründeten Feld der Remakeforschung als auch zur Debatte um die Existenz und Funktionsweise von Filmstrukturen.
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King, Seiko. "Re-made in Asia : transformation across Asian markets and popular culture." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/54738/1/Seiko_King_Thesis.pdf.
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The thesis is an examination of how Japanese popular culture products are remade (rimeiku). Adaptation of manga, anime and television drama, from one format to another, frequently occurs within Japan. The rights to these stories and texts are traded in South Korea and Taiwan. The ‘spin-off’ products form part of the Japanese content industry. When products are distributed and remade across geographical boundaries, they have a multi-dimensional aspect and potentially contribute to an evolving cultural re-engagement between Japan and East Asia.
The case studies are the television dramas Akai Giwaku and Winter Sonata and two manga, Hana yori Dango and Janguru Taitei. Except for the television drama Winter Sonata these texts originated in Japan. Each study shows how remaking occurs across geographical borders.
The study argues that Japan has been slow to recognise the value of its popular culture through regional and international media trade. Japan is now taking steps to remedy this strategic shortfall to enable the long-term viability of the Japanese content industry. The study includes an examination of how remaking raises legal issues in the appropriation of media content. Unauthorised copying and piracy contributes to loss of financial value.
To place the three Japanese cultural products into a historical context, the thesis includes an overview of Japanese copying culture from its early origins through to the present day. The thesis also discusses the Meiji restoration and the post-World War II restructuring that resulted in Japan becoming a regional media powerhouse.
The localisation of Japanese media content in South Korea and Taiwan also brings with it significant cultural influences, which may be regarded as contributing to a better understanding of East Asian society in line with the idea of regional ‘harmony’. The study argues that the commercial success of Japanese products beyond Japan is governed by perceptions of the quality of the story and by the cultural frames of the target audience. The thesis draws on audience research to illustrate the loss or reinforcement of national identity as a consequence of cross-cultural trade. The thesis also examines the contribution to Japanese ‘soft power’ (Nye, 2004, p. x). The study concludes with recommendations for the sustainability of the Japanese media industry.
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Hayt, Anthony. "Remade in Our Image: Gender, Melodrama, and Conservatism in Post-9/11 Slasher Remakes." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17925.
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This project details the ways in which the classic slasher films of the 1970s, and their post-9/11 remakes, are representative of the individual and complex world views out of which each set of films were borne. The remakes manipulate gender roles including those of the Final Girl and the mother; genre conventions, including increases in domestic melodrama and pathos; production models, including the use of star actors, directors, and producers; sexuality and presentation of the sexualized female body; and race, especially in fine differences between white and non-white characters. In doing so, the post-9/11 films reveal a conservative cultural climate that strives to show recovery of the nuclear family unit after trauma, unlike the originals which are more nihilistic in tone and portray families as either absent or deeply flawed and unrecoverable.
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Serfaty, Vidal. "Les droits dérivés de l'oeuvre audiovisuelle." Thesis, Paris 2, 2011. http://www.theses.fr/2011PA020075.
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Les rapports entre l’oeuvre audiovisuelle et les droits dérivés présentent deux tendances contraires. La première de ces tendances est celle de l’autonomie. En effet, certaines exploitations dérivées ont pour objet des oeuvres telles que les titres et les personnages qui bénéficient d’une protection indépendante de l’oeuvre audiovisuelle. Ce mouvement s’accentue lorsque les titres et les personnages font l’objet de dépôts de marques, car la finalité de la marque diffère de celle du droit d’auteur. La protection cumulative crée des interactions entre les droits, tant dans leur existence que dans leur exercice. Une dernière manifestation de cette autonomie réside dans l’exclusion des droits dérivés du champ de la présomption de cession des droits d’exploitation au producteur, cette exclusion se justifiant par le fait que les droits dérivés ont pour objet la création et l’exploitation d’oeuvres nouvelles. La seconde de ces tendances est celle du rattachement des droits dérivés à l’oeuvre audiovisuelle. Tout d’abord, la propriété commune de l’oeuvre audiovisuelle implique un consentement de l’ensemble des coauteurs à son adaptation. Ensuite la liberté de l’adaptateur est limitée par le droit au respect de l’oeuvre qui fait obstacle à la dénaturation de l’oeuvre audiovisuelle. Enfin, la pratique révèle que le producteur s’érige en personnage pivot de l’exploitation de l’oeuvre audiovisuelle en lui assurant une unité organique. A l’origine des investissements consentis en vue de la création initiale, il va ainsi chercher à participer le plus largement possible aux fruits de l’exploitation en se faisant céder les droits dérivés et en concluant des sous-contrats d’exploitationThe connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties
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Pieri, Jean-Etienne. "Hollywood et Hong Kong : transferts culturels, de 1979 à nos jours." Paris 3, 2008. http://www.theses.fr/2008PA030070.
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Cette thèse est consacrée aux échanges entre le cinéma hongkongais et Hollywood. Depuis le début des années 90, un certain nombre de réalisateurs, d’acteurs et de chorégraphes de scènes de combat originaires de Hong Kong sont effectivement venus travailler aux États-Unis. Les films tournés à Hollywood par ces artistes hongkongais ne représentent cependant que la part la plus manifeste des transferts entre les deux industries cinématographiques. Ces transferts n’ont en fait cessé de prendre de l’ampleur depuis l’émergence, en 1979, de ce que l’on a appelé la « Nouvelle Vague » hongkongaise (un mouvement de jeunes réalisateurs ayant pour la plupart étudié dans des pays anglo-saxons). Dans cette thèse sont analysés les tentatives d’hybridation (notamment sur un plan générique), les remakes et les différentes formes d’emprunts narratifs et stylistiques qui ont contribué à cette circulation des formes entre les deux cinématographiesThis thesis examines the exchanges between Hong Kong cinema and Hollywood. Since the beginning of the 1990s, several Hong Kong directors, actors and fight scenes choreographers have indeed emigrated to the United States. But the movies made in Hollywood by these filmmakers and stars from Hong Kong only represent the most obvious part of the transfers between the two film industries. These transfers have actually constantly increased since the emergence, in 1979, of what have been called the “New Wave” of Hong Kong (a movement of young directors, mostly educated in North America and England). In this thesis are studied the attempts to create hybrid works (especially on a generic level), the remakes and the different kinds of narrative and stylistic borrowings which contributed to the circulation of forms between the two film industries
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Sánchez, Lopera Sandra. "Traduciendo la mirada. Sobre la práctica del montaje en los remakes norteamericanos de las películas de terror japonesas contemporáneas." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/360843.
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El 1998, una petita pel.lícula japonesa va revolucionar el cinema de terror, que en aquell moment es trobaba dominat per la indústria nord-americana. Es tractava de Ringu, un film en el qual el director Hideo Nakata mostrava l’essència de les histories de fantasmes tradicionals del seu país en un entorn urbà contemporani. L’èxit d’aquest títol va obrir les portes a una sèrie de produccions japoneses de terror que es caracterizava per uns trets comuns que les feien reconeixibles. L’absència de violència explícita, la por a les noves tecnologies, presentades com quelcom negatiu, la presència d’un tipus de fantasma conegut com a yurei (esperits aturmentats, normalment femenins, que acostumaven a vestir roba blanca i caminar lentament amb part del seu rostre cobert per una llarga melena fosca) i, sobretot, un ritme més pausat que el que presentava el cinema de Hollywood, gràcies a un muntatge diferent, van ser les característiques més identificables d’aquestes pel.lícules que van originar el fenomen conegut com J-Horror. Dark Water, Ju-On. La maldición, Llamada perdida i Kairo van formar part d’aquest fenomen, sorgit a finals dels anys noranta i que amb prou feines va durar una década.
Veient la possibilitat d’aprofitar aquest èxit, la indústria nord-americana va fer remakes de diversos d’aquests films. Ara bé, com van traduir en aquestes produccions una cosa tan important com és el muntatge? Aquesta pregunta és la base d’aquest treball d’investigació. Després de fer una introducció al cinema de terror japonès i a les principals teories i conceptes del muntatge, s’han estudiat tant els films de terror japonesos contemporanis com els seus respectius remakes nord-americans centrant tota l’atenció en el seu muntatge visual. Per això, hem escollit una seqüència de cada original i la mateixa seqüència del remake per a descomposar-les en escenes i analitzar el muntatge fet servir en totes dues. La realització d’aquests decoupages permet observar aspectes com els tipus de plans, la seva durada, els movimients de càmara i el tipus de transició utilitzada per unir les escenes. El resultat d’aquest estudi mostra que, mentre les pel.lícules originals fan servir plans de major durada, acostumen a presentar els espais a través d’un pla general i, en la majoria de casos, els seus moviments de càmara es fan girant sobre el seu eix, els remakes recorren a nombrosos moviments de travelling, en els quals es desplaça la càmara, es fan servir més plans mitjans que plans generals i les seves escenes són d’una durada molt més breu que les que podem observar als films originals. Això, unit als canvis de durada que es produeixen en les escenes dels remakes però no en les del J-Horror estudiades, fa que el ritme narratiu sigui la principal diferència entre els seus muntatges. El ritme lent i pausat japonès es contraposa al ritme clarament més ràpid dels seus remakes nord-americans, que mostren una major fragmentació tant de l’acció com de l’espai i no han sabut traduir la tranquil.la mirada amb la que s’ha distingit el cinema de terror japonès contemporani, sent aquesta la conclusió de l’estudi realitzat.En 1998, una pequeña película japonesa revolucionó el cine de terror, que en ese momento se encontraba dominado por la industria norteamericana. Se trataba de Ringu, un film en el que el director Hideo Nakata mostraba la esencia de las historias de fantasmas tradicionales de su país en un entorno urbano contemporáneo. El éxito de este título abrió las puertas a una serie de producciones japonesas de terror que se caracterizaba por unos rasgos comunes que las hacían reconocibles. La ausencia de violencia explícita, el temor a las nuevas tecnologías, presentadas como algo negativo, la presencia de un tipo de fantasma conocido como yurei (espíritus atormentados, normalmente femeninos, que solía vestir ropas blancas y caminar lentamente con parte de su rostro cubierto por una larga melena oscura) y, sobre todo, un ritmo más pausado que el que presentaba el cine de Hollywood, gracias a un montaje diferente, fueron las características más identificables de estas películas que dieron origen al fenómeno conocido como J-Horror. Dark Water, Ju-On. La maldición, Llamada perdida y Kairo formaron parte de este fenómeno, surgido a finales de los años noventa y que apenas duró una década. Viendo la posibilidad de aprovechar este éxito, la industria norteamericana hizo remakes de varios de estos films. Ahora bien, ¿cómo tradujeron en estas producciones algo tan importante como el montaje? Esta pregunta es la base de este trabajo de investigación. Tras hacer una introducción al cine de terror japonés y a las principales teorías y conceptos del montaje, se han estudiado tanto los films de terror japoneses contemporáneos como sus respectivos remakes norteamericanos centrando toda la atención en su montaje visual. Para ello, hemos elegido una secuencia de cada original y la misma secuencia de su remake para descomponerlas en escenas y analizar el montaje utilizado en ambas. La realización de estos decoupages permite observar aspectos como los tipos de plano, su duración, los movimientos de cámara y el tipo de transición utilizada para unir las escenas. El resultado de este estudio muestra que, mientras las películas originales japonesas utilizan planos de mayor duración, suelen presentar los espacios donde se desarrolla la acción a través de un plano general y en la mayoría de casos sus movimientos de cámara se realizan girando sobre el propio eje, los remakes recurren a numerosos movimientos de travelling, en los que se desplaza la cámara, se utilizan más planos medios que planos generales y sus escenas son de una duración mucho más breve que las que podemos observar en los films originales. Esto, unido a los cambios de duración que se producen en las escenas de los remakes pero no en las películas del J-Horror estudiadas, hace que el ritmo narrativo sea la principal diferencia entre sus montajes. El ritmo lento y pausado japonés se contrapone al ritmo claramente más rápido de sus remakes norteamericanos, que muestran una mayor fragmentación tanto de la acción como del espacio y no han sabido traducir la tranquila mirada con la que se ha distinguido el cine de terror japonés contemporáneo, siendo esta la conclusión del estudio realizado.
In 1998, a japanese movie revolutionized horror cinema, which in that moment was dominated by American industry. It was Ringu, a film in which the filmmaker Hideo Nakata showed the essence of traditional ghosts stories from his country in an urban environ. The success of this title open the way to a series of Japanese horror productions that was characterized by some features in common that made it recognizebles. The absence of explicit violence, fear of new technologies, showed as something negative, the presence of a kind of ghost known as yurei (tormented spirits, usually women, that wear white clothes and walks slowly with part of its face hidden by black hair) and, above all, a slower rythm than Hollywood cinema, thanks to a different kind of edition, were the characteristics more identificables from the movies which caused the phenomenon kwown as J-Horror. Dark Water, Ju-On, One Missed Call and Kairo were part of this phenomenon, born at last of the 90 and that barely last for a decade. Understanding the chance to take advantage of this success, American industry did remakes from some of these films. How did these productions translate something so important as the edition? This question was the basis for this research. After an introduction to japanese horror cinema and the main edition theories and concepts, we have studied contemporary Japanese horror movies and their American remakes with the focus of the attention on the visual edition. Because of thar, we have choosen one sequence from each original and the same sequence from their remake to separate it into scenes and analysing the edition from both. These decoupages allow to observate aspects like the angle of plans, its lenght, the camera movements and transitions used to join scenes together. The results of this research shows that, while original movies uses more lenght plans, it used to show the space through a general plan and, the most of times, its camera movements are doing turning above its own axle, remakes uses more travelling movements, in which camera is displaced, more general plans are done and the length of its scenes is very shorter thsn the length of the scenes from original films. These points, and the changes in the lenght of remakes scenes but not in the J-Horror scenes movies, do the narrative rythm be the main difference between its editions. The slow japanese rythm is opposed to faster rythm of american remakes, which shows a biggest fragmentation of the narrative action and the space. American remakes don’t know translate the peaceful look that distinguished japanese contemporary horror cinema, being that the conclusion of this issue.
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Štrimaitis, Mantas. "Liejimo slegiant formų projektavimo, gamybos technologinio paruošimo ir gamybos problemų analizė ir sprendimai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090623_110855-78181.
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Baigiamajame magistro darbe nagrinėjamos liejimo slegiant formų projektavimo, ga-mybos technologinio paruošimo bei gamybos proceso problemos ir aptariami novatoriški jų sprendimo būdai. Apžvelgiami plastinių medžiagų perdirbimo procesai. Analizuojamas tradi-cinis liejimo slegiant formų gamybos procesas ir jo trūkumai. Pateikiami organizaciniai ir te-chniniai tradicinio gamybos proceso tobulinimo būdai, panaudojant naujausią programinę įrangą, įrankius, medžiagas ir stakles. Tiriamojoje dalyje atliekamas ruošinio parinkimo įtakos liejimo formos detalių savikainai modeliavimas. Išanalizavus visas liejimo slegiant formų ga-mybos problemas, pateikiamos baigiamojo darbo išvados ir siūlymai. Darbą sudaro 7 dalys: įvadas, plastikų perdirbimas, tradicinio liejimo slegiant formų gamybos proceso analizė, liejimo slegiant formų gamybos proceso šiuolaikinės tobulinimo kryptys, ruošinio parinkimo įtakos liejimo formos detalių savikainai modeliavimas, išvados ir pasiūlymai, literatūros sąrašas. Darbo apimtis – 73 p. teksto be priedų, 50 iliustr., 14 lent., 21 bibliografinis šaltinis. Atskirai pridedami darbo priedai.In this final master work are investigated plastic injection moulds design, production technological preparation and production problems and discussed innovative solution ways of these problems. Reviewed remake processes of plastic meterials. Analysed tradicional plastic injection mould production process and its weaknesses. Gived organizational and technical tra-dicional production process improvement ways handling the modern software, tools, materials and machines. In investigational part is performed modeling of billet selection influence to cost price of mould parts. After analysis of all the plastic injection moulds production problems gived conclusions and suggestions of this final work. Structure: introduction, remake of plastics, traditional plastic injection moulds production process analysis, modern improvement ways of plastic injection moulds production process, modeling of billet selection influence to cost price of mould parts, conclusions and suggestions, references. Thesis consist of: 73 p. text without appendixes, 50 pictures, 14 tables, 21 bibliographi-cal entries. Appendixes included.
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Cavazzuti, Simone. "Fenomeni di intertestualità e franchise mediali: analisi dei generi e dei contesti produttivi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25145/.
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Lo scopo di questo elaborato è proporre un’analisi esauriente e aggiornata (per quanto possibile) delle pratiche produttive che dominano il panorama cinematografico attuale, con riferimento ai principali metodi attraverso cui un testo filmico si mette in relazione con un altro testo filmico già esistente.
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Rockage, Jennifer. "Overheard-collected-remade." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11086.
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Thesis (M.F.A.)--West Virginia University, 2010.Title from document title page. Document formatted into pages; contains iii, 49 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 44-45).
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Kivimäki, Tomi. "Returbiljett till apornas planet : En studie om primär och sekundär adaption." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21084.
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The purpose of this essay is to study two film adaptations of the original Planet of the Apes novel and see what kind of relationship the two adaptations have with each other. The main question is if the secondary film adaptation is restricted by the primary and if the relationships between these two are as two separate adaptations or as a remake of an adaptation. What the results of the study show is that the secondary adaptation can not be seen as a remake even though it gets some of its inspiration from both the original story as well as the primary adaptation. The secondary adaptation is, however, restricted in what it can adapt due to the primary adaptation having the first pick, at least if the secondary adaptation wishes to be a whole new adaptation and not a remake of the primary. The study shows also that the fidelity in the secondary adaptation is not necessarily to either the original or the primary but to the knowledge the audience has about the Planet of the Apes universe which they have gathered from all of the important versions of the story. The essay also states that there is yet much to learn about the relationship between secondary and primary film adaptations which means that the field is still in need of exploration.
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Skärby, Kim-Richard. "”Kryddan i maten” : Redesign av en kokbok." Thesis, Mälardalen University, School of Innovation, Design and Engineering, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-6587.
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The purpose of this project has been to redesign an already existing cook-book. The title of the book (directly translated), “Season in food – the year around with herbs and spices”, contains what the headline imposes: spices, herbs and food. But when the author tries to entwine these parts and communicate it to the reader it is not working all to well due to a poor and inconsistent graphic design.
I have followed the theories and values of information design when I redesigned the book layout with the intent to simplify the communication between author and reader. In the progress to make a complete dummie of the book I did multiple literature studies, book analysis, tests and a vast number of drafts.
In this report I will describe the whole process from start to finish. It is impossible to explain every aspect of every theory and still make it interesting to read. Instead I try to explain the processes in a more comprehensive way. But details are inevitable and at those times it helps to use the appendix.
Mitt examensarbete har inneburit att göra en redesign på en redan befintlig kokbok. På bokensomslag står det: ”Kryddan i maten – året om med örter och kryddor” och den handlar om just detrubriken antyder: örter, kryddor och mat. Tyvärr har författarens syfte, att knyta samman dessa tvåbitar, gått förlorad i bokens inlaga. Detta beror på en inkonsekvent och ostrukturerad formgivning.
Mitt arbete har varit att med hjälp av informationsdesignens regler och teorier göra om och styraupp bokens layout på ett sånt sätt så att informationen på nytt blir lättillgänglig för användaren. Föratt lyckas med det har jag förutom ett gediget skissarbete även utfört utprovningar, litteraturstudiersamt bokanalyser.I denna rapport avhandlar jag hur hela arbetsprocessen sett ut– från bakgrund till färdigt resultat.
Rapporten har omöjligt kunnat behandla alla de frågor och tankegångar jag ställts inför utanbehandlar processen på ett mer övergripande sätt. Ibland beskrivs vissa moment detaljerat för attläsaren skall förstå, men genom bilagorna går det att snabbare få en förståelse för vad som menas.
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Remark, Robert James. "Depth of permanence: conviction towards permanence value design philosophy." Thesis, Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/remark/RemarkR0511.pdf.
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This thesis provides an account of the degrading values present in the current (twenty-first century) design of the built environment, and proposes an ideology and objective end goal methodology for the re-evaluation and re-administration of critical values for the future design of architecture. Focused around the core value of permanence --a value which proves to structure other architectural values, this thesis's proposes: permanence value design philosophy. In short permanence value design philosophy refers to a means to grasp and provide conviction towards permanence and the qualities present in the design of architecture that is recognized for attaining a "timeless" nature which continues to endure permanently either in its built physical presence or in the reminiscent minds and archived resources of history. The establishment of this philosophy and the objective methodology is put forward to provoke and exemplify the necessity for convicted, innovative, intelligent design approaches for the rehabilitation and future development of the built environment. As a test for the ideology, this thesis provides precedent studies representing past and present examples of highly innovated projects; analyzed as either already of a permanent quality or as executing design intelligence and construction practices in line with achieving permanent quality. As a final test of the ideology, and re-evaluation for the objective methodology, this thesis proposes a program and project design for a new library/learning center extension from the already existing Renne Library located on the campus of Montana State University. The design of a new quasi library/learning center has been chosen as the design problem for testing this methodology because of the current change and redefinition that both of these institutions (traditional libraries and universities) are presently experiencing. As a result of the project design and program development adaptations to the permanence value design methodology have been included, and a focus on four separate objectives have been realized as being critical values for permanent minded design.
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Lenos, Melissa. "Deja View: Cultural Functions of Hollywood Remakes." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/42057.
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Mass Media and CommunicationPh.D.
This dissertation examines Hollywood remakes of US films in order to discern how the narrative and formal modifications between originals and remakes are analogous across sets of films. Performing a discourse analysis that utilizes theories of popular culture and social memory, I argue that the patterns of changes confirm that remakes fulfill some functions of modern-day folktales: stories that are adapted for the needs and interests of their contemporary audiences but that simultaneously tend to reaffirm and promote traditional ideologies. By analyzing shifts and alterations in narrative, visual and structural tropes and changes in trends of representation, I examine the ways in which such phenomena as political and social movements and historic events are depicted and consider what cultural needs these representations may fulfill for their audiences. My process was driven by several research questions. First, what kinds of films get remade? Secondly, what are the differences in content and structure in each set of films analyzed in this study and what are the relationships between the remakes and their original source films? Finally, my primary questions are: how do narrative structures, characterizations and plots change or stabilize within the same story over time? How can we utilize these changes and constants to identify the cultural functions remakes may serve that make them so prevalent right now?
Temple University--Theses
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Johansson, Kim, and Jason Kimström. "Remain-Sharp." Thesis, Halmstad University, School of Business and Engineering (SET), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2778.
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Engkvist, Tobias. "Remote Netlab." Thesis, Mittuniversitetet, Avdelningen för informations- och kommunikationssystem, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-28248.
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Detta projekt har haft som fokus att skapa ett system där användare med hjälp av SSH ska kunna logga in på en server och utföra konfigurationer på switchar och routrar med olika krav såsom att enbart en användare får vara inloggad i systemet åt gången. För att uppnå målen och kraven så användes ett par olika skript med språk såsom shell, bash, perl och expect. Resultatet visar en färdig produkt och att detta projekt var genomförbart. Lösningsförslaget finns presenterat i form av ett flödesschema och sedan vanlig text. Slutligen presenteras och diskuteras även andra alternativa lösningar.The projects main focus have been to create a system mainly for the users that study network technology on a more advanced level. In order for the students to start to configure the switches and routers they need to access a server with the SSH protocol which was one of the requirements. Another requirement was that only one user should be able to configure at same time (so two users should NOT be able to configure the switches and routers at the same time). The scripting languages that was used was bash, shell, perl and expect in order to achieve these goals and requirement. The result shows a finished product and that this project was feasable. The solution is presented as a flowchart as an overview and some regular text that explains the scripts in more depth. There are of course a ton of other ways to solve this problem and a few of them are presented and discussed in the later chapters.
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Burrows, William Frederick Jr. "Remote Worship." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/burrows/BurrowsW0508.pdf.
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I am a Christian. In my opinion, this is the most important way I can describe myself as a person. As a son, brother, friend, employee, and student my Faith undeniably affects every facet of my life. In an effort to make my last year as a student resonate on a personal level, I have combined my spiritual journey with my academic one. My intent was to characterize my Christian faith in order to introduce an architecture that embodies the duality of a personal connection to God and a community experience based on fellowship. My ten-week investigation of my beliefs, the Christian church, and architectural precedents has pointed me towards designing a remote worship destination in an effort to explore the intersection that occurs between the spiritual and earthly realms and between the individual and society. My hope is that this design will embody my concept of the Christian faith as a process, or journey, and the nature of that process causing a spiritual separation from society. My intention is to symbolically represent a journey, a point of rest and introspection, and to capture the nature of worship with an architecture and how that architecture responds to a site. My process thus far has been incredibly introspective and educational on so much more than an academic plane. My early research was fueled by cynicism and frustration with how I have seen the Christian faith and church represented in America today. However, diving deeper into the spirituality of Christian worship I have gained a beautiful perspective on our relationship with God and each other. I can only hope that my solution will reflect the spiritual growth I have experienced. If you want to make God laugh, tell Him your plans. Folk Proverb
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Longo, Rosario Alessandro. "Dalla generazione di modelli 3D densi mediante TLS e fotogrammetria alla modellazione BIM." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13284/.
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La tesi tratta la ricerca di procedure che permettano di rilevare oggetti utilizzando il maggior numero di informazioni geometriche ottenibili da una nuvola di punti densa generata da un rilievo fotogrammetrico o da TLS realizzando un modello 3D importabile in ambiente FEM.
Il primo test si è eseguito su una piccola struttura, 1.2x0.5x0.2m, in modo da definire delle procedure di analisi ripetibili; la prima consente di passare dalla nuvola di punti “Cloud” all’oggetto solido “Solid” al modello agli elementi finiti “Fem” e per questo motivo è stata chiamata “metodo CSF”, mentre la seconda, che prevede di realizzare il modello della struttura con un software BIM è stata chiamata semplicemente “metodo BIM”. Una volta dimostrata la fattibilità della procedura la si è validata adottando come oggetto di studio un monumento storico di grandi dimensioni, l’Arco di Augusto di Rimini, confrontando i risultati ottenuti con quelli di altre tesi sulla medesima struttura, in particolare si è fatto riferimento a modelli FEM 2D e a modelli ottenuti da una nuvola di punti con i metodi CAD e con un software scientifico sviluppato al DICAM Cloud2FEM.
Sull’arco sono state eseguite due tipi di analisi, una lineare sotto peso proprio e una modale ottenendo risultati compatibili tra i vari metodi sia dal punto di vista degli spostamenti, 0.1-0.2mm, che delle frequenze naturali ma si osserva che le frequenze naturali del modello BIM sono più simili a quelle dei modelli generati da cloud rispetto al modello CAD. Il quarto modo di vibrare invece presenta differenze maggiori.
Il confronto con le frequenze naturali del modello FEM ha restituito differenze percentuali maggiori dovute alla natura 2D del modello e all’assenza della muratura limitrofa.
Si sono confrontate le tensioni normali dei modelli CSF e BIM con quelle ottenute dal modello FEM ottenendo differenze inferiori a 1.28 kg/cm2 per le tensioni normali verticali e sull’ordine 10-2 kg/cm2 per quelle orizzontali.
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Kinsey, C. E. C. "Skins\screens\circuits : how technology remade the body." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1354502/.
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This thesis is an analysis of the social, political and historical inter-relationships between moving image technologies, constructions of gender and sexuality, and theories of science and technology. Presented as a series of case-studies on film, video, medical imaging and computer technology in the work of five women artists, this thesis looks at the way in which artistic practice overturns traditional theories of technology as purely ‘instrumental’, theories of the subject in which identity is tied to the body, and the assumption that women do not access technology in a sophisticated way. It considers the various ways in which women artists have engaged with, and subverted, the explicit body in representation through deploying new moving image technologies at the historical moment of their widespread distribution across domestic, artistic, pornographic and medical spheres. It ends by asking what is the political potential in challenging the anthropomorphic and destabilizing the figurative through abstraction? Beginning with an investigation into the way in which Carolee Schneemann uses the material properties of film to establish a haptic encounter, in which female and feline bodies are caught up in a sexual economy of touch (pet/petting), this thesis then looks at the work of Kate Craig and the mutual expansion of pornography and home-video technology, questioning the emergence of the ‘amateur’ in relation to theories of power and gender; offers a technological and philosophical modeling of medical imaging technology (taking endoscopy in the work of Mona Hatoum as a case study); and re-evaluates the use of binary in information systems beyond a limiting analogy with ‘Western binaries’ through the work of Nell Tenhaaf. Using the languages of art history together with science & technology studies, medical discourse and feminism, this research theorises gender, technology and medicine as systems of representation that are all deeply inter-connected.
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Eriksson, Elias, and Arpine Petrosian. "Remote Work - Transitioning to Remote Work in Times of Crisis." Thesis, Umeå universitet, Företagsekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-172779.
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During times of crisis, such as when the world is going through a pandemic. Many companies get affected and need to change their way of working. Our purpose is to study how the abrupt transition to remote work effects different aspects of work and to see whether, and in what ways, the involuntary nature of the current remote work situation changes how remote work is perceived by employees and managers. We choose to do a qualitative study, in order to get a deeper understanding from both employees’ perspective and managers perspective. The managers and employees participating in our interview are from banking, insurance, and staffing agencies. These interviews will be supplemented with secondary sources from news and statistical surveys. By comparing the results from our study with earlier research and recommendations from industry experts, we concluded that organizational members are handling the transition to remote work well despite the ongoing situation. Similar pros and cons of remote work that are present in previous research are also present in our interviews. However, there are some distinct differences as well. Our thesis is intended to help other organizations learn and gain knowledge about how different organizations are managing remote work in a crisis and the challenges that it brings.
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Torres, Gil Miguel Ángel. "DS Universal Remote." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1609.
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The purpose of this thesis is to develop a remote control application for personal computers. This application will have two devices implied, the computer to be controlled and a small portable device that will be used as remote controller.
In this specific case, the portable device picked is the Nintendo DS, for reasons discussed later in this document that make this device interesting as a remote controller.
The application should allow the final user to create his own set of remote controllers for any computer application he wants to control, and also, to define the commands the application should perform. This makes the developed solution a full customizable universal remote controlling application.
The first step taken was to do a small research about what kind of devices and software are present actually for remote control applications, so the differences, advantages and disadvantages of using the Nintendo DS will be shown. Then the developed solution will be explained and tested, controlling some computer applications under different scenarios.
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Smith, Alan Arthur. "Remote asymmetric induction." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280317.
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Tranter, Kenneth Shaun. "Remote cationic curing." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340378.
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STIERS, R., and T. LYDON. "REMOTE TELEMETRY CONCEPTS." International Foundation for Telemetering, 1991. http://hdl.handle.net/10150/613126.
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International Telemetering Conference Proceedings / November 04-07, 1991 / Riviera Hotel and Convention Center, Las Vegas, NevadaA Remote Telemetry Station (RTS) was developed to support Boeing’s requirement to relocate its flight test telemetry range away from Seattle, Wa. As requirements to relocate the test range were investigated high level requirements were documented and various approaches were evaluated. The end result of the analysis and requirements definition was the procurement of the Remote Telemetry Station (RTS). The RTS is capable of supporting many sites, tracking and receiving up to 1024 Kbits/sec of telemetry data, providing fully redundant two-way radio communication in the UHF and VHF bands, linking all the data back to Seattle and appearing transparent to the users. The RTS was designed and developed by a Boeing/Veda Incorporated team. The end result of this joint design and development effort is a system that meets all Boeing requirements in a highly integrated, extremely efficient, and very flexible package providing for growth through the year 2000.
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Axelsson, Peter, and Jonas Petersson. "Remote Tower Centre - Configuration and Planning of the Remote Tower Modules." Thesis, Linköpings universitet, Kommunikations- och transportsystem, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104024.
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Today, many small aerodromes have a hard time surviving economically, and amongst the largest cost is air traffic control. Airlines are cutting costs where they can, and many times this affects the aerodromes as well, e.g. when airlines decide to park remotely instead of at the gate. The project called Remotely Operated Towers, initiated by SESAR and run by Saab and LFV, is aiming to address this problem. The project revolves around remotely providing ATS to aerodromes where it is deemed suitable. A big challenge in this project is how to assign aerodromes to remote tower modules in the remote control centre. There are many ways to do this, but there is only a few ways to do it to achieve the least amount of modules. This thesis aims to find an optimal solution to the challenge mentioned above. The thesis resulted in a model where the user can provide the input of choice, i.e. aerodromes with associated ATS operating hours and movements, for a specific period – and receive the assignment schedule for the modules, saying exactly which aerodrome are to be controlled by which module at what time.
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Tinashe, Kurehwaseka. "Lightweight Remote Collaboration System based on WebRTC : Improving Remote Collaboration Flexibility." Thesis, Blekinge Tekniska Högskola, Institutionen för kommunikationssystem, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12816.
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Context. Introduction of efficient multimedia technologies combined with the spreading of high-speed internet connection all over the world has led to the continuous increase in demand of multimedia services, particularly video and audio. One of the major demands are flexible, interoperable and cost-effective lightweight remote collaboration systems in companies. Web Real Time Communication (WebRTC) is an emerging peer to peer technology that is promising to be the solution to many digital real-time communication challenges. With its fantastic one-to-one communication capabilities, WebRTC supports fast and smooth audio calls, video calls, conferencing, data (media file, document and screen) sharing, gaming and all sorts of messages exchange, all being done straight out of the browser. However, as shown by investigations and interviews supported by Ericsson AB and Semcon AB as party of the MERCO (Mediated Effective Remote Collaboration) international project, many corporate use cases of remote collaboration involve applications beyond the conventional one to one communication. Present videoconferencing systems (telepresence) limits the collaboration flexibility due to their lack of the ability to adapt to system resource usage, hence tend to be too heavy for less powerful devices (laptops, tablets, phones). Moreover, their installation and maintenance costs are too expensive for small companies. Therefore, new flexible, lightweight and less expensive solutions for remote collaboration need to be developed. Objectives. The main objective of this thesis is to identify technical solutions to address the challenges of resource usage flexibility in WebRTC multi-party remote collaboration systems. Despite concurrent developments of both commercial and free solutions that provide multi-party videoconferencing services using WebRTC, present solutions such as the conventional Multipoint Control Unit (MCU), Selective Forwarding Unit (SFU) and Fully Meshed architectures suffers from issues of excessive resource usage and cannot deliver the acceptable quality of experience in different use cases, particularly the mobile environment. The aim of this thesis is to investigate lightweight technical solutions that can be used to improve the system resource usage in WebRTC multiparty conferencing systems. Through understanding the architectural designs, benchmarking the performance of various technologies used in WebRTC and selecting the most suitable techniques a prototype is developed as a proof of concept. Methods. The first part of the thesis is dedicated to comprehensive study of fundamentals, background information and related works on WebRTC. This gives knowledge of technologies, techniques and performance evaluation metrics which help in making appropriate technical decisions during the experimental development of WebRTC solutions. The second part of the thesis is dedicated to experimental investigation in which two WebRTC signaling technologies (XSockets and NodeJs) are evaluated based on call setup time in WebRTC group call. Two lightweight technical solutions for improving resource usage flexibility (Switching video quality based on speech and using emotions and gestures instead of video) are evaluated based on system resources (CPU, memory, disk and network) and user experience. Results. Based on call setup time of WebRTC multi-party calls, the experimental results indicates that XSockets is a better signaling technology than NodeJs. The two proposed lightweight solutions have shown a remarkable improvement based on systems resource usage. A 15% reduction of CPU usage is observed when using speech controlled video quality switching and further 10% reduction is observed when video is replaced by emotions and gestures. Conclusions. Despite the minimal resource usage achieved by using emotions technique, this solution has usability issues as it cannot detect emotions in poor lighting environment. Consequently, the solution of switching video quality based on speech is chosen for further implementation. Though, this technique can be further improved through using machine learning techniques, the current implementation can significantly reduce the amount CPU, memory, disk and network usage to allow up to 6 participants to join a single conference call while maintain acceptable quality of experience.