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1
Milner, Lisa Gow K. Levy Jerome Disher Norma. "We film the facts the Waterside Workers' Federation Film Unit, 1953-1958 /." Access electronically, 2000. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070410.120748/index.html.
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Gherinig, Lassaad. "Essai sur l'économie industrielle de la firme bancaire américaine." Paris 1, 1997. http://www.theses.fr/1997PA010050.
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Tout au long de notre essai sur l'économie industrielle de la firme bancaire américaine, nous avons essayé de présenter avec beaucoup d'attention les problèmes méthodologiques relatifs à la détermination de l'économie industrielle de la firme bancaire. Nous nous sommes particulièrement attaché à montrer qu'il n'existe pas de mesure parfaite et unique de la compétitivité bancaire. L'élaboration d'indicateurs de compétitivité dépend de façon fondamentale du concept de la concurrence. En effet, nous avons pu observer que pour une définition, plusieurs mesures de la compétitivité peuvent être retenus. Leurs qualité dépend de différents éléments entrant dans leur constructionIn the evolution of our "essay on industrial economy ofvthe american banking firm", we have attached more importance for methodologic problems concerning the specification of the industrial economy of banking firm. So, we hare, particulary, to prove that there is no unic and perfeit evoluation of banking competitive ness. The elaboration of indicators is dependent on fundamentally concept of competitiveness. In result, we have observed that for a definition, several evoluations can be considerated and their competent depends on different structures for their elaboration
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Hoare, Jonathan Giles. "Imperialism & 'alternative' film culture : the Empire Marketing Board film unit : 1926-1933." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21827/.
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This thesis explores the early years of the British documentary movement as it formed within the Empire Marketing Board between 1926 and 1933. I begin by offering new insights into this formation by focusing on key institutions that have been under-researched in existing literature. The movement started with government money and resources, in a position formalised by the EMB's use of the Imperial Institute, a Victorian institution with an established history of public education, exhibition and research. Within this official institutional framework the EMB's filmmakers enjoyed an extraordinary level of creative freedom. They were simultaneously embedded within the'alternative' film culture that had developed from the independent screenings of the London Film Society (1925-1939). The Society offered coverage of the art and history of film for the first time in Britain, alongside showcasing a wealth of contemporaneous experimental and avant-Barde fiction and non-fiction work. Drawing on a variety of primary archival sources (some of which have not been previously explored) in the first three chapters I examine how the EMB's film unit developed in a relationship between the Board, the Imperial Institute and the Film Society. This position defined the work they produced, and the style and the content of their films for the EMB. The filmmakers were part of an Imperial discourse that aimed to promote Britain and the British Empire, however they were also engaging with, and contributing to, an international movement of filmmakers and intellectuals who were using documentary film to look closely at contemporary society from new perspectives. The fourth and fifth chapters offer fresh insights into filmmaking at the EMB, with a personal study based on new research into the life and work of Basil Wright. Although he was a central figure at the EMB, his role has remained under-researched. The material I present here offers a new account of the early formation of the documentary movement at the EMB and the original resources that the Board and its filmmakers drew upon.
4
Angelov, Nikolay. "Essays on unit-root testing and on discrete-response modelling of firm mergers /." Uppsala : Department of Economics, Uppsala University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6358.
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Bohas, Alexandre. "La firme Disney : analyse du capitalisme culturel d'Hollywood." Paris 1, 2007. http://www.theses.fr/2007PA010334.
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Une littérature abondante et critique porte sur la firme Disney. Dans l'ensemble, les études académiques se sont montrées très hostiles à l'égard de ses activités. Dépeinte tour à tour comme conservatrice, sexiste et commerciale, elle est devenue le sujet favori des recherches menées sur la commodification et le fétichisme de la consommation. Elle constitue en outre un objet de choix pour les travux de déconstruction.
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Harding, Alan James. "Evaluating the importance of the Crown Film Unit, 1940-1952." Thesis, Southampton Solent University, 2017. http://ssudl.solent.ac.uk/3806/.
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The Crown Film Unit (CFU) was the British Government’s principal in-house film production facility during the years 1940 to 1952. Over this period it produced around 225 films of different types and lengths ranging from short five minute Public Information Films to feature length cinema exhibited pictures. A very few of the latter, such as Target for Tonight (1941) or Fires Were Started (1943) have become iconic representations of both the bomber offensive and the Blitz during the Second World War. Although these films only represented a very small percentage of the CFU’s entire catalogue they have, in the main, dominated academic discourse about the Unit. This research has sought to explore the full production canon of the CFU and, in particular, to examine its importance and legacy. In doing so it has also engaged with the debates about the role of film propaganda especially as it impacted upon the self-image and morale of the British people during and after the War. It also examines the role and position of the Unit in the development and history of the Documentary Movement. To achieve these research aims the Crown Film Unit is first situated in its historical context and the influences of its predecessors over the previous forty or so years are examined. Subsequently a new classification paradigm is developed which allows the films themselves to be reviewed according to theme. Locating each of the films in a particular dynamic framework enables them to be evaluated from the appropriate social, economic, political or military perspectives. The films are also considered in the context of their reception which, in the case of the CFU was not just cinematic exhibition but also a substantial non-theatrical audience watching, not only in the UK, but across the world. The penultimate chapter examines the legacy of the CFU demonstrating that it had an important impact upon British and overseas feature film making in the 1950s, but it also made a currently undervalued contribution to the subsequent development of both Public Information, training, advertising and instructional films. The research concludes that although perhaps still best described as a Documentary Film Unit the role of the CFU was far more nuanced.
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Abu-Khalil, Ramy 1978. "Developing a unified manufacturing and sourcing strategy in a multi-business unit engineering firm." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/34829.
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Thesis (M.B.A.)--Massachusetts Institute of Technology, Sloan School of Management; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering; in conjunction with the Leaders for Manufacturing Program at MIT, 2005.Includes bibliographical references (p. 137-139).
Competitive pressures in manufacturing industries have led to an increased utilization of outsourcing as a strategic alternative to vertical integration. This thesis develops a methodology to aid multi-business unit firms in formulating outsourcing strategies on the corporate or business group level. It offers frameworks for identifying non-core manufacturing capabilities and make versus buy decision making. In addition, it identifies critical organizational and communication linkages between levels of management and functional groups that are necessary precursors to developing a successful outsourcing strategy. Finally, it presents an analysis of the growing importance of the strategic sourcing function within the engineering firm, the informational inputs needed for the sourcing organization to adequately support activities across all business units, and investigates issues of measurement and performance within a cross-business unit support function. The research leading to the development of the described outsourcing methodology was conducted jointly between the MIT Leaders for Manufacturing Program and Honeywell International within the Honeywell Automation and Control Solutions Business Group.
by Ramy Abu-Khalil.
S.M.
M.B.A.
8
Foubert, Jean. "David Lynch et le film noir (1986-1997)." Paris 7, 2002. http://www.theses.fr/2002PA070049.
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Cette thèse a pour objet principal d'éclairer le rapport de David Lynch au film noir américain classique et contemporain. Notre analyse porte sur les films "Blue Velvet" (1986), "Twin Peaks : Fire Walk with me" (1992) et "Lost Highway" (1997) ainsi que sur la série télévisée "Twin Peaks" : (1989-91). On y étudie plus particulièrement les stratégies d'appropriation et de subversion des conventions narratives du film noir et on y considère les spécificités et les qualités novatrices du "noir" lynchien. On a ainsi voulu montrer comment, en s'appropriant et en renouvelant le genre hollywoodien du film noir, David Lynch célèbre le potentiel expressif et créatif du cinémaThis dissertation is essentially concerned in exploring the relation of David Lynch to classic and contemporary American film noir. Our analysis bears on the films "Blue Velvet" (1986), "Twin Peaks : Fire Walk With Me" (1992) and "Lost Highway" (1997) as well as on the television series "Twin Peaks" (1989-1991). It focuses on David Lynch's appropriative and subversive strategies of film noir's narratives conventions and it also deals with the specificities and the innovative qualities of his noirs. Our object was to show how, by reappropriating and renewing Hollywood film noir genre, Lynch celebrates the expressive and creative potential in the cinematographic discourse
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Powell, James Scott. "Learning under fire: a combat unit in the Southwest Pacific." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4237.
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Engaging a determined enemy across a broad range of conditions, the U.S. Army in
World War II's Southwest Pacific Area (SWPA) played an important role in the defeat of Japan.
How units fought and learned in SWPA and how they adapted to the evolving challenges of their
environment is the focus of this dissertation. The subject remains largely unexplored, especially
in contrast to the attention the European theater has received. An examination of the 112th's
performance not only illuminates an understudied area in the historiography of World War II but
also offers relevant lessons for contemporary military organizations.
Mining a rich collection of primary sources, this study analyzes the development of the
112th Cavalry Regiment and sheds light on how American units in SWPA prepared for and
conducted combat operations. A National Guard unit federalized in 1940 and sent to the Pacific
theater in 1942, the 112th performed garrison duties on New Caledonia and Woodlark Island and
eventually fought in New Britain, New Guinea, and the Philippines. Before deactivating, the
regiment also served in Japan during the first months of the occupation.
Concentrating on one unit illustrates the extent to which ground forces in SWPA were
driven to learn and adapt. The 112th had mixed success when it came to carrying out its
assigned missions effectively. The same was true of its efforts to learn and improve. The unit's
gradual introduction to combat worked to its advantage, but learning was not simply a matter of building on experience. It also involved responding to unexpected challenges. Experience
tended to help, but the variety of circumstances in which the cavalrymen fought imposed limits
on the applicability of that experience. Different situations demanded that learning occur in
different ways. Learning also occurred differently across the organization's multiple levels.
Moreover, failure to learn in one area did not, as a matter of course, undermine advancement in
all. Much depended on the presence of conditions that facilitated or disrupted the learning
process, such as the intricacy of the tasks involved, the part higher headquarters played, and the
enemy's own responses to the changing environment.
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GEREN, REBECCA. "CALCULATING FIRE-RESISTANCE RATINGS OF CONCRETE MASONRY UNIT (CMU) WALLS." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618764.
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This paper serves as a statement accompanying a capstone project for a degree in
Information: Science and Technology. It details the work that went into creating the
web page dedicated to helping specifications and codes writers to calculate fire resistance
ratings of concrete masonry unit (CMU) walls. It briefly examines what a
CMU wall is and the calculations that are involved in calculating fire-resistance
ratings. The paper delves into how the site itself works, what the user can expect to
see when first accessing the page and how to follow the steps in order to get the
correct output. Without getting too technical, the paper also describes the four
programming languages that were involved with coding the web page and what
they handle in accordance with the page’s design and implementation. Finally, the
paper concludes with an appendix containing the URL that will lead the reader to
the web calculator and provides some practice problems that will allow the reader
to test the calculator’s abilities.
11
Carballa, Smichowski Bruno. "Competition and market power : a critical reassessment in light of recent changes." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCD016/document.
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Les objectifs principaux de cette thèse sont expliquer l’émergence de nouvelles dynamiques concurrentielles caractérisées par une symbiose entre concurrence et pouvoir de marché et élucider comment elles peuvent être appréhendées sous l’angle de la théorie de la concurrence. Le chapitre I investigue l’évolution des formes de la concurrence aux États-Unis de 1840 jusqu’à nos jours. On montre qu’alors que dans certains cas le pouvoir de marché s’est traduit par l’entrave à la concurrence (et vice-versa), dans d’autres les deux établissent une relation symbiotique. Le chapitre II fait une revue des théories de la concurrence et conclut qu’elles ne rendent pas compte de la coexistence de deux faits stylisés majeurs propres à la forme de concurrence hégémonique actuelle : des différentiels de taux de profit de long terme et une forte concurrence par les prix.Le chapitre III développe une contribution à la théorie de la concurrence entre et au sein des chaînes globales de valeur (CGV). On montre que l’interdépendance inégale est la source du pouvoir de marché intra-CGV, ce qui explique les différentiels de taux de profit entre firmes appartenant à une même CGV. On montre par la suite comment ils peuvent être compatibles avec une forte concurrence par les prix. Le chapitre IV étudie le capitalisme de plateforme en se focalisant sur les « firmes de coordination algorithmique basées sur la confiance » (FCABC). En s’appuyant sur le cas de la firme de VTC Uber, on argumente que la FCABC conjugue du pouvoir de marché avec une forte concurrence par les prix dans une dynamique concurrentielle dans laquelle il y a une tendance à la monopolisationThe main objectives of this thesis are to explain the emergence of competitive dynamics characterized by a symbiosis between competition and market power and to elucidate how they can be apprehended through the lenses of competition theory. Chapter I investigates the evolution of forms of competition in the United States from 1840 to today. We show that while in some cases market power has translated into hindering competition (and vice versa), in others the two establish a symbiotic relation. Chapter II reviews competition theories and concludes that they do not account for the coexistence of two major stylized facts characteristic of the current hegemonic form of competition: long-run profit rate differentials and strong price competition. Chapter III develops a contribution to competition theory within and between global value chains (GVC). We show that uneven interdependence is the source of intra-GVC market power, which explains long-run profit rate differentials between firms belonging to the same GVC. Then we show how they can be compatible with strong price competition. Chapter IV studies platform capitalism with a focus on “trust-based algorithmic coordination” (TBAC) firms. Building on the case of the ride-hailing firm Uber, we argue that the TBAC firm conjugates vertical market power with strong price competition in a competitive dynamics in which there is a tendency towards monopolization
12
Gonzalez-Duclert, Diana. "Esthétique, politique et société : naissance du Film-événement, entre pratique et théorie." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0153.
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Dans l'histoire du cinéma mondial, des œuvres de fiction s'affirmèrent non seulement comme des succès commerciaux de divertissement mais aussi comme des événements politiques, intellectuels et sociaux. Leur présentation au public engendra en effet, dans la sphère des médias et dans l’espace des pouvoirs, des débats nombreux, des controverses décisives, des affrontements aigus. Ces film-événements ont ainsi la particularité de, sortir de la catégorie cinématographique et d'exister comme un phénomène de société impliquant pour leur étude la mobilisation des sciences sociales. Notre thèse se propose d'étudier la fabrique des film-événements au Etats-Unis, sur la base d'un corpus d'œuvres précisément justifié. II s'agit alors dans un premier temps d'analyser ces productions, comme des objets sociaux impliquant une compréhension critique de leur réception dans un contexte historique, politique et social. Mais la problématique posée conduit dans un deuxième temps à s'intéresser au rôle et à la place de l'esthétique -les intentions du réalisateur, le langage filmique, par exemple -dans le processus de transformation d'un film en un événement. Le troisième temps de la recherche consiste à interroger l'esthétique dans la société, à concevoir une esthétique socio-psychologique, à établir les termes de la rencontre entre esthétique, politique et société. Cette identification du film-événement américain offre en conclusion la possibilité d'étudier d'autres cinémas nationaux, comme ceux du Moyen-Orient ou le cinéma françaisDuring cinema's history, fictional films have not only been commercially successfuI forms of entertainment, but have also created political, intellectual and social events. Their presentation in the public realm, in both media and public institutions has generated significant debates and controversies. These film events have distinguished themselves apart from other film categories and exist as a phenomenon in society thereby underlining their importance as an object of study for the social sciences Our thesis proposes to study the construction of film events in United States, on the 'basis of a precisely justified corpus of American films The initial area of our study is to analyze these works as social objects implicating a critical understanding of their reception in a historical, political and social context. However, the question posed by this ' analysis also leads to a second level: what role does aesthetics - the intentions of the filmmaker and filmic language, for example - play in making a film an event? The third ' area of our research consists of questioning aesthetics in society, to imagine the concept of a soclo-psychologlcal aesthetic -in order to establish a encounter between aestheticvpolitics and society. In conclusion, this identification of an American film event offers the possibility to study other national cinemas, such as those from the Middle East or French cinema
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Dubnický, Peter. "Návrh strategie firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2008. http://www.nusl.cz/ntk/nusl-221623.
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The IT business has dramatically changed within last few years. Nowadays M Computers ltd. established mainly as a hardware reseller is being faced with a decision about the answer to these changes and further direction of the business to gain the competitive advantage. The goal of presented master`s thesis is to analyze and evaluate the current position of the company using the methods of strategic analysis. Furthermore a proposal of company strategy by the year 2009 will be provided.
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Reitmayerová, Lucie. "Analýza daňového zatížení firem." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-76164.
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This diploma thesis is focused on measuring the corporate tax burden with the implicit and statutory corporate tax rates within the European Union. The aim of this study is to compare tax burdens across the European Union. Furthermore, to determine whether the implicit tax rate on corporate income depends on the following factors; statutory tax rate, depreciation period of certain assets, tax preferences of research and development, investment incentives or the possibility of transfer of tax losses. In the period 1995 to 2010 the average statutory corporate tax rate decreased significantly. The development of average implicit tax rate on corporate income was not so clear. The differences exist mainly between the Old and New Member States. The performed analysis did not prove dependence of implicit tax rates on corporate income on the above mentioned factors.
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Boyd, Kenneth D. "Methodologies of direct-fire allocation and maneuver unit allocation and placement." Thesis, Monterey, California. Naval Postgraduate School, 1985. http://hdl.handle.net/10945/21431.
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Smith, Kieron. "John Ormond and the BBC Wales Film Unit : poetry, documentary, nation." Thesis, Swansea University, 2014. https://cronfa.swan.ac.uk/Record/cronfa42379.
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This thesis is a detailed examination of the films of Swansea-born poet and BBC Wales documentary filmmaker John Ormond. It examines the uses of the documentary form within the context of a broadcasting institution that many have argued has been one of the central agents in the political and cultural development of this small nation. Given that the thesis is concerned with the work a decidedly creative figure, it seeks throughout to keep in focus Ormond's unique contribution to the documentary form. It begins with an interpretation of Ormond's broad cultural and philosophical framework as embodied in his poetry, and from here goes on to explore the ways in which this thinking impacted upon his approach to film as a medium and, particularly, the documentary as a cultural form. It positions Ormond's approach to documentary within the tradition of the Griersonian 'British Documentary Movement', in particular its post-war manifestations on British television as pioneered by producers such as Denis Mitchell, Norman Swallow and Philip Donnellan. Indeed, the thesis is, in part, an attempt to align Ormond's work with these better-known figures in British television history. The major aim of the thesis, however, is to explore the uses of this peculiarly civic cultural form within a minority national broadcasting context. To this end, it utilizes Jurgen Habermas's notion of the 'public sphere' as a lens through which to examine the ways in which Ormond's wide-ranging oeuvre interacted with and impacted upon a Welsh public sphere at a time of unprecedented political, economic, social, and cultural change. It distinguishes three broad areas of thematic concern - "culture", "historiography" and the "ethnographic" - and examines the ways in which Ormond's films reflect and contribute to a wide and shifting range of national discourses in this pivotal era in the history of Wales.
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Letort, Delphine. "Du film noir au néo-noir : mythes et stéréotypes en représentation : (1941-2001)." Rennes 2, 2002. http://www.theses.fr/2002REN20020.
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Les années quarante ont vu l'émergence d'un mouvement esthétique original que le film noir synthétise en se démarquant des conventions alors en vogue à Hollywood. Surveillé par la censure en raison du contenu subversif qui le caractérise, le film noir convoque une série de stéréotypes dont l'étude nous permet de mesurer l'influence du politique et de l'idéologique sur son mode de représentation. Structures narratives et mode de représentation travaillent de concert à la création d'une mythologie (la femme est fatale tandis que le héros est dit "hard boiled") que l'industrie cinématographique va abondamment exploiter dans sa stratégie commerciale. Le film noir révèle l'instabilité des codes qui servent à représenter le féminin et le masculin, suggère l'ambiguité des désirs qui poussent à l'acte meurtrier, fouille l'inconscient des êtres en proie à des pulsions morbides à travers les lumières contrastées qui composent l'espace. La criminalité apparaît comme le symptôme d'une véritable crise d'identité sociale et individuelle, semant dès les années cinquante les racines d'un mal que l'on voit exploser dans la violence du polar et du film néo-noir. Modernité et postmodernité ont affecté la relation de l'individu à l'espace social, à lui-même, comme elles ont transformé le statut de l'image dans la société. Le film noir et ses avatars trahissent les angoisses qui accompagnent une évolution incontrôlable, remplissent toujours une fonction politique à l'intéérieur du pays, invitant à un questionnement des valeurs individuelles et collectives à travers l'investigation de crimes dont l'horreur va croissante. Le film néo-noir interroge directement la culture et la civilisation postmodernes, s'amuse à déconstruitre les codes cinématographiques du film noir afin de mettre l'accent sur l'artificialité de la construction des images qui nous entourent et nous représentent, mais dont les enjeux nous échappentClassical Hollywood narratives are characterized by a set of conventions which film noir shattered as it emerged in the 1940s. Not only did the newly born genre disrespect the realist effect that ruled representation in classical films while playing upon mise en scene, but it also proved quite subversive as far as content is concerned. It relied on a series of stereotypes (the femme is fatale while the hero is hardboiled) that need to be recognized and analyzed in order to understand why film noir was closely watched by censorship. No doubt the political power of film noir was enhanced by its narrative structure and its mode of representation, implicitly referring to mythological narratives and figures, which the film industry also endowed with a commercial purpose. Film noir plays on the expressionist quality of black and white in order to express the ambiguity of desires leading individuals to the margins of crime, thus emphasizing that instabilities of gender were already incipient in the forties. Violence has pervaded the genre while laying stress on the urban crisis and expressing the psychological conflicts undermining the individual's sense of identity. The study of crime and violence in film noir and neo-film noir allows us to understand how modernity and postmodernity have affected the relationship of the individual to his environment and to himself. Film noir echoes the troubles caused by the transformation of society into a modern world whereas neo-film reflects the social and identity crisis triggered by a postmodern state and a new cultural and economic order. Postmodern aesthetics questions the rules of cinematic representation while deconstructing the genre, thus demystifying the American set of values vulgarized by Hollywood films and cinema itself
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Moinereau, Laurence. "Le générique de film : du linguistique au figural." Paris 3, 2000. http://www.theses.fr/2000PA030153.
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Le mot << generique >> ne trouve pas sa traduction exacte dans le terme anglais le plus proche, celui de credits. En effet, le second designe une liste de noms ; le premier, un fragment du film comprenant cette liste. Ce fragment est dote d'une autonomie qui menace l'unite organique de l'oeuvre : beneficiant d'un statut d'extra-territorialite, il echappe en partie a l'emprise de la fiction et constitue dans le film la trace d'un autre espace-temps, celui de la production. Ce statut singulier autorise le deploiement de configurations filmiques specifiques, sur le plan semantique comme sur le plan formel. Ce sont ces formes, et non le contenu des credits, que nous etudions, en essayant d'identifier les dynamiques sous-jacentes qui president a leur elaboration. Cette perspective nous amene a considerer le generique comme un champ de forces organise par trois couples de poles : renonciation et la diegese ; le texte et l'image ; le recit et la figure - qui font tour a tour l'objet de nos trois premieres parties. La notion de figure, elaboree a partir des travaux de jean-francois lyotard et georges didi-huberman, constitue l'axe theorique de notre recherche : elle fait le lien entre le figuratif et le figural, entre l'image et la rhetorique du reve telle qu'elle est decrite par freud, le generique apparaissant en dernier ressort comme un lieu d'expression privilegiee du figural. Enfin, la quatrieme partie est consacree a l'analyse des caracteristiques conferees au generique par son site, que l'on peut qualifier de frontalier. L'usage d'une derniere polarite conceptuelle associee ace site (continuite vs discontinuite) permet alors de reconstituer une dynamique globale dans laquelle s'articulent les unes aux autres les dichotomies precedentes.
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Thammongkol, Pitiporn. "The system theoretic accidental analysis of a crude unit refinery fire incident." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/90708.
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Thesis: S.M. in Engineering and Management, Massachusetts Institute of Technology, Engineering Systems Division, System Design and Management Program, 2014.40
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 112-115).
Catastrophic chemical process accidents in the past such as Bhopal (India) and Flixborough (UK) have led to a major increase in societal concerns about the safety of these processing facilities. As the petrochemical industry has changed considerably over the past several decades due to changes in technology, automation control and greater integration of work services, this has led industry operations to become more advanced and complex. Therefore, when accidents occur, they usually have an involvement of multiple factors, which suggests that there are underlying complex systemic problems. Nevertheless, typical accident investigations often show that most accidents were preventable; identifying the cause of the accidents and monitoring warning signs are crucial to preventing the accidents. The main objective of this thesis is to develop a better understanding of the missing causal identification from the use of traditional Swiss cheese base accidental model compared to a structured system-based method. This thesis applies Prof. Leveson's System Theoretic Accident Model and Processes, STAMP-CAST, on a case study of the August 2012 Richmond Refinery fire involving a crude unit. Then STAMP-STPA will be use in an example to develop warning signs to detect the deterioration of the Refinery's safety integrity. The analysis identified is complimentary to the refinery and regulatory controls that were not articulately expressed in the company's investigation report. These analyses are included in subsequent sections of this thesis to answer the research question "What could be done differently to understand the causes of accidents and prevent them?"
by Pitiporn Thammongkol.
S.M. in Engineering and Management
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Starostová, Andrea. "Kritická analýza politiky Evropské unie a jej dopad na firmu E.ON SE." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2013. http://www.nusl.cz/ntk/nusl-224256.
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Hlavným cieľom diplomovej práce je kriticky analyzovať politiku Európskej Únie a jej dopad na činnosť nadnárodnej spoločnosti E.ON. Keďže politika Európskej Únie má za cieľ zefektívniť spôsob podnikania vykonávaného v rámci Európskej Únie a okrem iného má predstavovať garanciu zodpovednosti jak spotrebiteľov, tak dodávateľov operujúcich na trhu, tak zámer práce bol definovaný na analýzu politického vplyvu rozhodnutí Európskej Únie a ich dopad na následné strategické rozhodnutia firmy. Analytická čas práce je preto zameraná na analýzu Európskej energetickej politiky s kladením dôrazu na profil spoločnosti E.ON, Európsku energetickú stratégiu, obnoviteľné zdroje, jadrovú energetiku, bezpečnosť energetickej dodávky a na Európsky systém obchodovania s emisiami.
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Bisha, James Victor. "Correlation of the Elastic Properties of Stretch Film on Unit Load Containment." Diss., Virginia Tech, 2012. http://hdl.handle.net/10919/27992.
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The purpose of this research was to correlate the applied material properties of stretch film with its elastic properties measured in a laboratory setting. There are currently no tools available for a packaging engineer to make a scientific decision on how one stretch film performs against another without applying the film. The system for stretch wrap comparison is mostly based on trial and error which can lead to a significant loss of product when testing a new film or shipping a new product for the first time. If the properties of applied stretch film could be predicted using a tensile test method, many different films could be compared at once without actually applying the film, saving time and money and reducing risk.
The current method for evaluating the tensile properties of stretch film advises the user apply a hysteresis test to a standard sample size and calculate several standard engineering values. This test does not represent how the material is actually used. Therefore, a new tensile testing method was developed that considers the film gauge (thickness) and its prestretch. The results of this testing method allowed for the calculation of the material stiffness (Bisha Stiffness) and were used to predict its performance in unit load containment.
Applied stretch film is currently compared measuring containment force, which current standards define as the amount of force required to pull out a 15.2cm diameter plate, 10.1cm out, located 25.4cm down from the top and 45.7cm over from the side of a standard 121.9cm width unit load. Given this definition, increasing the amount of force required to pull the plate out can be achieved by manipulating two different stretch film properties, either increasing the stiffness of the film or increasing the tension of the film across the face of the unit load during the application process. Therefore, for this research, the traditional definition of containment force has been broken down into two components. Applied film stiffness was defined as the amount of force required to pull the film a given distance off the unit load. Containment force was defined as the amount of force that an applied film exerts on the corner of the unit load.
The applied stretch film was evaluated using two different methods. The first method used the standard 10.1cm pull plate (same plate as ASTM D 4649) to measure the force required to pull the film out at different increments from the center on the face of the unit load. This measurement force was transformed into a material stiffness and film tension (which were subsequently resolved into containment force). The second, newly developed, method involved wrapping a bar under the film, on the corner of the unit load, and pulling out on the bar with a tensile testing machine. This method allowed for the direct measurement of the containment force and material stiffness. The results indicated that while some statistically significant differences were found for certain films, the material stiffness and containment were relatively consistent and comparable using either method.The use of the Bisha Stiffness to predict the applied stiffness and containment force yielded a statistically significant correlation but with a very low coefficient of determination. These results suggest that while film thickness and prestretch are key variables that can predict applied stiffness and containment force, more research should be conducted to study other variables that may allow for a better. High variability of the predictions observed were caused by the differences in film morphology between the different method of elongation (tensile vs application).
This study was the first that attempted to define and correlate the tensile properties of stretch film and the applied properties of stretch film. From this research many, terms have been clarified, myths have been dispelled, formulas have been properly derived and applied to the data collected and a clear path forward had been laid out for future researchers to be able to predict applied stiffness and containment force from the elastic properties of stretch film.Ph. D.
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Knotek, František. "Fondy Evropské unie jako prostředek pro zvyšování konkurenceschopnosti českých firem a organizací." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-2009.
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Práce se zabývá problematikou regionální a strukturální politiky EU s důrazem kladeným na využívání fondů EU jako prostředku pro zvýšení konkurenceschopnosti českých podniků. Cílem této práce je přiblížit problematiku fondů EU, vývoj v minulém a současném rozpočtovacím období, zhodnotit vhodnost použitých metodik a navrhnout případná řešení. Struktura práce je navržena tak, aby poskytovala nejen obecné, ale zejména praktické rady pro zpracování vybraných programových dokumentů.
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Mužíková, Marie. "Podmínky pro založení firmy v České republice ve srovnání s Evropskou unií." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-165097.
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The aim of this diploma thesis is to provide a comprehensive overview of conditions for establishing a company in the European Union. This work defines basic business terms and discusses the historical development of the business environment and conditions for establishing a company in the territory of today's European Union. Surveys the legal forms of businesses and analyzes the procedure of founding a company in Czech Republic, in selected EU member states and in the European Union. It deals with taxes and the impact of the tax policy on the establishment of companies. The work identifies and evaluates the criteria which determine conditions for starting up a business and their development in time. It compares the results of the EU member states and based on the analyzed data helps to decide whether it is better and for what kind of a company to establish a company in Czech Republic or in another country in EU.
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Hrabec, Filip. "Dopady zavedení eura na hospodaření firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2014. http://www.nusl.cz/ntk/nusl-224748.
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This master's thesis analyzes the impact of euro implementation on corporation finance of a particular company. Czech Republic's accesion to the monetary union will entail positive and negative changes that will affect all entities in the economy. In this thesis, these impacts are analyzed and their expected net effect on the company is determined. The conclusion is focused on the evaluation of the impact of the single currency on the company, identification of the main risks associated with the necessary transformations and suggestion of the recommendations that will help the company to a successful transition to the euro.
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Sanpere, Charlotte. "La désillusion dans le mélodrame et le film noir américain des années quarante et cinquante." Paris 3, 1994. http://www.theses.fr/1995PA030116.
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Cette these s'interesse a l'approche socio-historique du cinema a travers le film noir americain des annees quarante et cinquante et le melodrame comme genre. L'utilisation par le film noir du modele melodramatique est concu comme le moyen utilise par l'epoque pour projeter un commentaire, un point de vue, qui caracterisent un ensemble de significations qu'une societe a cherche a se donner pour elle-meme. Deux qualites particulieres au film noir sont retenues : la reference a un genre narratif (le melodrame) et l'expression d'un sentiment (la desillusion). Le melodrame est un genre de longue duree, caracterise par des representations multiples dans le temps et dans l'espace mais identifiable a un noyau formel specifique qu'il est possible de lier a un contenu ideologique relativement stable. En utilisant certaines figures et themes melodramatiques, le film noir leur attribue une fonction. Quant a la desillusion, elle est concue d'apres la definition qu'en donne freud qui permet d'isoler deux observations : la relation du sentiment avec une conception de l'autre et le rapport que cela implique avec les figures de doubles et la repetition ; d'autre part, une disposition particuliere a l'egard de la croyanceThis thesis is devoted to a socio-historical approach to cinema through a study of american film noir of the 1940s and 1950s, and of melodrama as a genre. The use by film noir of the melodramatic model is presented as a means of projecting a commentary, a point of view, which characterizes a set of meanings through which a society attempted to describe itself. Two specific qualities of film noire are singled out : its reference to a narrative genre (melodrama) and its expression of a particular feeling (disillusion). Melodrama is distinguished by multiple representations in time and space which remain linked to a specific formal core that determines its own relatively stable ideological content. Film noir, in using certain melodramatic figures and themes, assigns to them a different function. Disillusion is defined by freud, and allows two observation : the expression of a concept of the other (a relationship which is implied through the figure of the double and through repetition), and a specific disposition, created by the feeling of disillusion, toward belief
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Hlávková, Radana. "Návrh restrukturalizace firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2008. http://www.nusl.cz/ntk/nusl-221605.
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This thesis deals with the analysis of two strategic business units of the company Lexmark and based on this analysis I recommend which SBU should continue in operation and which one should be closed. As a tool for recommendation I use the general company environment analysis by the MAP method, the industrial environment analysis applying Porter´s model with the ETOP method, the analysis of internal factors by the SAP method and the stakeholders analysis. I use the SWOT analysis for summarization. The first part is dedicated to the theory of strategic management. The next part is practical. I present the company Lexmark, describe the analysis and summarize the analysis results. I recommend the company restructuralization based on the analysis including the expectations of restructuralization, cost savings and cost, with focus on the critical factors and the process of restructuralization.
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Gallant, Mathieu. "Comprendre l'émergence du film noir : une étude sociohistorique, esthétique et thématique." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30580/30580.pdf.
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Ce mémoire a pour but de mettre à jour les conditions d’émergence du film noir états unisien. Il mobilise des approches multiples, dont celles qui ont été proposées par Michèle Lagny dans son ouvrage intitulé De l’Histoire du cinéma : méthode historique et histoire du cinéma. Les conditions socioéconomiques des États-Unis ont été explorées, de même que l’industrie cinématographique des années 1940 et 1950. Se sont ajoutées des considérations thématiques et esthétiques susceptibles de révéler le caractère contre-culturel du film noir. Les conditions d’émergence et le caractère contre-culturel de trois mouvements européens, dont l’expressionnisme allemand, le réalisme poétique français et le néoréalisme italien, ont préalablement été étudiés. De cette manière, il a été possible de tisser une toile qui permet de comprendre en quoi les manifestations contre-culturelles au cinéma sont facilitées par un climat de crise.Using an historical approach inspired by Michèle Lagny in her book De l’Histoire du cinéma : méthode historique et histoire du cinema, this thesis’s goal is to explore the context in which American film noir was born and how it is an example of counter-culture. In order to achieve this goal, the socioeconominal portrait of the 1940-50s United States of America was drawned, the state of the film industry of the same period was looked at and a thematic and aestethic study of film noir was done. The contexts and the counter-cultural nature of three European movements of the same period, German expressionism, French poetic realism and Italian neorealism, were initially studied. This way, it was possible to understand how counter-cultural manifestations are facilitated by a climate of crisis.
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Hrozek, Tomáš. "Návrh konkurenční strategie firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2009. http://www.nusl.cz/ntk/nusl-222025.
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Strategic management is one of the foundation stones of every successful company. This thesis occupies with a proposal of competitive strategy for a strategic business unit of a company that operates on the information technologies and relative services market. The key part of this thesis is strategic analysis of above mentioned strategic business unit. The analysis is aimed on the external as well as on the internal environment of given strategic business unit. The aim of the work is to secure a competitive advantage through the suitable competitive strategy.
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Molia, François-Xavier. "Un cinéma de la destruction : approches esthétique, historique et industrielle du film-catastrophe hollywoodien." Paris 10, 2007. http://www.theses.fr/2007PA100087.
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Apparue dans les années 1970, l’expression disaster movie désigne d’abord un cycle de fictions hollywoodiennes, comme L’Aventure du Poséidon, 747 en Péril ou La Tour Infernale, qui racontent les aventures de personnages confrontés à un désastre ou sa menace : crash aérien, incendie, naufrage, tremblement de terre. Dans les années 1990, un second cycle de films-catastrophe se constitue, dont le succès culmine avec le Titanic de James Cameron. Inspirée par les travaux de Rick Altman, notre étude cherche à cerner l’identité synchronique du genre, puis à faire son histoire. Les films-catastrophe prolongent, en les reconfigurant, plusieurs traditions hollywoodiennes : le spectacle de la destruction, le mode mélodramatique et l’exhibition du corps performant. Dans ces fictions de la communauté en crise, le récit thérapeutique de la catastrophe donne lieu à une surenchère spectaculaire où s’exprime la logique de puissance d’un nouveau «cinéma des attractions»First coined in the 1970s, the term disaster movie was primarily used to refer to a cycle of Hollywood fictions such as The Poseidon Adventure, Airport 1975 or The Towering Inferno, that recount the adventures of characters who are faced with a catastrophe, or the threat of one : plane accident, fire, shipwreck, or earthquake. A new cycle of disaster movies then developed in the 1990s, culminating with the unprecedented success of James Cameron’s Titanic. Inspired by Rick Altman’s work, our study sets out to detail the synchronic identity of the genre, before charting its history. Disaster movies prove to be a continuation, and at the same time a reorganization, of several Hollywood traditions : spectacles of destruction, melodramatic mode and exhibitions of the performing body. These are fictions about communities in crisis, in which the therapeutic disaster narrative is conducive to an escalation of spectacle, thus allowing a new « cinema of attractions » to demonstrate its power
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Bužek, Michal. "Návrh technologie obrábění strojních součástí pro kusovou výrobu v soukromé firmě." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2016. http://www.nusl.cz/ntk/nusl-241866.
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The diploma thesis focuses on the use of automation in single-part and small batch production in a private company. Introductory part deals with description the project and selecting representatives for which the project will be created. Followed by the comparison and selection of machines, tools and auxiliary equipment, selection of automation and software. Based on selection before, the three variants of automatization are developed, which will be compared at the end of diploma thesis and the best option will be selected.
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Nacache, Jacqueline. "Ellipses et figures elliptiques dans le film hollywoodien classique." Paris 3, 1998. http://www.theses.fr/1998PA030165.
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Les films americains realises dans le cadre du studio system, des debuts du parlant a la fin des annees cinquante, constituent un ensemble esthetique exceptionnel ; en entreprenant l'histoire des agencements rhetoriques qui y sont a l'oeuvre, on peut tenter de comprendre, par-dela des explications economiques, psychologiques ou sociales souvent incompletes, la fascination qu'exercent durablement les grands modeles hollywoodiens. L'etude de l'ellipse constitue une etape de cette entreprise. L'ellipse, figure determinante du langage comme du recit litteraire, figure-cle dans la rhetorique narrative du film, l'est encore plus dans une cinematographie hollywoodienne qui manifeste un talent naturel pour une vision elliptique du monde. Cette vision sera abordee, dans une premiere partie d'analyses, a travers quatre variations sur l'ellipse temporelle classique: le systeme narratif du melodrame, le montage frequentatif ou sommaire, l'ouverture et l'ellipse de metamorphose. Dans la seconde partie d'analyses, l'ellipse se verra elargir au champ plus vaste du travail elliptique, en tant qu'il affecte la representation de l'espace et de l'acteur, le style de grands cineastes reputes pour leur sens du raccourci; en tant qu'il gouverne non seulement l'efficacite du recit mais sa portee morale; reflechir sur l'ellipse, c'est aussi, en etudiant cet operateur elliptique que fut le code de production, voir tout ce qui se joue dans les cruciales articulations dramatiques de l'instant sexuel et de l'instant mortel, et dont la mise en images, ou en non-images, est souvent un choix non seulement ideologique mais philosophiqueThe american films made under the studio system, from the coming of sound to the end of the 1950s, represent an exceptional aesthetic group ; to undertake the history of the rhetorical arrangements which are at work in this group is to try to understand, beyond often-incomplete economic, psychological or social explanations, the lasting fascination exerted by the great hollywood models. The study of ellipsis represents a forward step in this enterprise. Ellipsis, a key element both of language and of literary narration, is also a keystone to the rhetorical narrative of any film, and even more so within hollywood film-making, which displays a natural ability to shape an elliptical world vision. This vision will be treated, first, through analyses of four variations on the classic temporal ellipsis : the narrative structure of melodrama, the + montage sequence ; or summary, the overture, and, finally, the ellipsis as it shelters a wide range of physical and psychological character metamorphoses. The second group of analyses considers the larger subject of the elliptical work as it affects the representation of space and of the actor, as well as the style of film-makers known for their sense of abbreviation. The ellipsis governs not only the efficiency of the narration but also its moral weight. Thus studying the elliptical influence represented by the production code means reflecting upon that which was at play in the crucial dramatic articulations of the sexual moment and the mortal moment, the capture of which, either in images or non-images, expresses in many ways an option that is not only ideological but also philosophical
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Luan, Lingfei. "Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467295770.
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Napolitano, Mary Elizabeth. "Mammographic x-ray unit peak kilovoltage and spectral quality determination using film densitometry." Diss., Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/15840.
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Schmelzer, Claire Dobson. "A case study investigation of strategy implementation in three multi-unit restaurant firms /." This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-02022007-133632/.
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Schmelzer, Claire D. "A case study investigation of strategy implementation in three multi-unit restaurant firms." Diss., Virginia Tech, 1992. http://hdl.handle.net/10919/37269.
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The primary objective of this study was to conduct an exploratory investigation of the process of strategy implementation in multi-unit restaurant firms. A model comprised of five context variables and five process variables was developed on the basis of a review of the
theoretical literature about the restaurant industry, strategy implementation, and organization theory. Qualitative research methods, specifically case study design, concept mapping, and matrix analysis were used to collect and analyze the data from three firms.
The findings from this investigation included 14 propositions that explain the associations between the variables and other factors found to affect implementation in the three companies, which were investigated. A new framework was developed from the propositions that further delineates the strategy implementation process. The framework introduces four additional variables found to be involved in the implementation process: life cycle stage of the firm, size and geographic dispersion of the firm, manager demographics, and training. Three primary context variables, organizational culture, organizational structure, and perceived environmental uncertainty; and three primary process variables, information processing, planning and control, and resource allocation were found to have a major effect on strategy implementation.
The results obtained provide a basis for further study of the implementation process.Ph. D.
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Klotz, Sarah Beth. "Armed with cameras: The Canadian Army Film Unit during the Second World War." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26679.
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This thesis focuses on a previously undocumented part of Canadian military history: the Canadian Army Film Unit (CAFU). Like the official historians, war artists and photographers, the CAFU was to create an official record of Canada's Army in the Second World War. Although the National Film Board (NFB) was established in 1939, receiving complete control over the federal production of film in Canada, the CAFU was created in 1941 by the Department of National Defence outside of the mandate of the National Film Board Act. This caused a significant amount of conflict between the NFB and the Department of National Defence over which department would control the documentation of Canada's Army in the Second World War.
Reconstructing the history of the Canadian Army Film Unit from 1941 to 1945, this thesis analyses a number of issues that the Film Unit encountered in the production of its motion pictures. This chronological study explores the nature of filming during combat, censorship, distribution, and the soldier-cameramen's ongoing struggle with the NFB for control over the documentation of the war on film. (Abstract shortened by UMI.)
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Dahan, Patricia Irène. "Psychanalyse et film noir américain." Paris 3, 1988. http://www.theses.fr/1988PA030003.
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On peut dire que le cinema, comme tout art, est temoin de son temps en ce qu'il reflete les preoccupations, les phobies, les interets contemporains a sa societe, etc. En partant du principe que chaque epoque delivre un message, je m'emploie a essayer de determiner la nature du temoignage du film noir americain en proposant une analyse de ce cinema au travers de ses caracteristiques, de ses codes, de ses origines, de son contexte economique, historique et social. Un des moyens de lecture choisi pour eclairer ces films est la psychanlyse, dans le sens ou elle est bien ce qui permet de degager des principes universels quant au fonctionnement conscient inconscient de l'individu, entre ce qui est emis (le realisateur) et ce qui est recu (le spectateur). Car en filigrane, se joue dans ces films le drame que chaque individu peut vivre face aux divers obstacles qu'il rencontre dans la realite ou dans la fiction. Une autre grille de lecture nous est fournie par la semiologie, demarche encore recente, qui se veut reunir plusieurs parametres pour organiser le sens, et qui m'interesse en ce qu'elle integre tout ce qui distingue une civilisation (economie, architecture, mode,. . . ). Je m'attache donc a demontrer en quoi les films noirs americains peuvent reproduire et systematiser certains concepts d'analyse, determiner lesquels et pourquoi, et les vulgariserOne can that cinema, as any art, is a witness of its time in the sense that it reflects contemporary interests of its society. Considering that each period of time delivers a message, my work is an attempt to determine what type of message is conveyed by american film noir through an analysis of this cinema; its codes; archetypes; origins; economical, social and historical context. One of the processes chosen to higlight these films is psychoanalysis, as it enables the use of universal principles regarding the conscious unconscious functioning of the individual, between what is sent out (the director) and what is received (the audience). Because the drama each individual may experience in reality or fiction can be traced in the set up of these films. Another process of analysis is given by a recently developed science : semiology, which unites various parameters to organize the sense, it interests me as it integrates all that distinguishes a civilisation (economics, architecture, fashion,. . . ). My work aims at demonstrating in what way american film noir can reproduce and systematize some analytical concepts, determine which ones and why, and vulgarize them
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SMITH, WENDY. "Stratégie d'un film portrait : un grand-père en son jardin." Paris 10, 1986. http://www.theses.fr/1986PA100199.
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Pourquoi réalise-t-on des portraits? Cette thèse a été l'occasion d'une réflexion sur quelque chose qui nous entoure quotidiennement (les portraits photographiques, littéraires, etc. ) mais sur lesquels nous ne nous posons pas de question. Le problème principal qui s'est posé à moi était de faire un portrait de mon grand-père, d'évoquer sa philosophie et, parallèlement, de réaliser un film. Il m'a semblé logique de traiter ce sujet en trois parties : la première partie est une réflexion sur le portrait dans sa dimension historique. En analysant ses transformations, j'essaie de dégager quelques axes de réflexion sur le genre. À partir de cet historique, je dégage des fonctions du portrait telles que je les vois, le rôle de la ressemblance et du modelé à travers les medias, pour tenter de définir le portrait cinématographique. La deuxième partie est établie à la lumière de la première c'est une réflexion sur le tournage proprement dit. Dans la troisième partie, je reviens à la première pour voir si "Perry en son jardin" peut figurer dans les catégories que j'ai dégagées dans la première partie. Lorsque j'ai décidé de faire le portrait de mon grand-père, ce dernier représentait non seulement un modèle et une éthique (l'éthique protestante), mais également mon pays (les Etats-Unis). Depuis que je vis en France, je vois en lui une simplicité, une harmonie dans son rapport au monde qui me fascinent sans que je sache qu'en penser. C’est ce trouble qui m'a poussée à faire ce film. Dans le commentaire du film, outre la description du tournage proprement dit, je traite trois problèmes principaux qui s'entremêlent tout au long du tournage : le choix du sujet, la méthode et les problèmes techniques inhérents aux systemes de tournage et de montage choisis. Cette étude s'inscrit aussi dans une dimension sociologique : c'est une étude sur les objets et notre rapport avec eux. Une réflexion sur le portrait veut dire réfléchir sur l'image que nous avons des autresWhy do we make portraits? This thesis was an opportunity to think about something that surrounds us in our daily life (the portrait in its numerous forms) but that we rarely question. The principal question I asked myself was how to portray my grandfather and his philosophy in a film. It seemed logical to treat this subject in three parts. The first part is a reflection on the portrait taken from a historical point of view. I deduce several functions of the portrait, describe the role. The model and resemblance play in each medium, in order to try to define the film portrait. The second part is a reflection on the making of the film. In the third part, I try to see if "Perry in his garden" can be included in the categories I defined in the first section. When I decided to make this portrait of my grandfather, he represented not only a model and an ethic (the protestant work ethic) but also my country (the United States). Now that I live in France, I see a simplicity, a harmony in my grandfather's relationship with the world that fascinates me, without knowing what to think of it. This is why I made the film. In my film commentary, other than the description itself, I treat three principal problems: the choice of the subject, the method used and the technical problems encountered due to the shooting and editing systems I chose. This study also has a sociological dimension: it is a study about objects and our relationship to them. To think about portraits means thinking about the image we have of people around us
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Indrová, Vladislava. "Vnitřní účetní předpisy firmy." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197433.
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This thesis is devoted to internal guidelines. It describes the legislation frame of Czech accounting, where the duties of setting up these regulations come from. The goal of this thesis is to describe and analyze the theoretical basis of accounting rules, define its meaning, purpose and then apply them in practise. The final outcome is analysis of the internal accounting rules in a selected accounting unit. Following are recommendations for possible changes or a suggestion for elaboration of new internal guidelines.
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Chanudaud, Stéphane. "La musique de cinéma française, européenne et américaine : de l'avènement du cinéma parlant aux années de l'âge d'or." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10055.
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"Cette étude retrace les expériences, la recherche et les innovations entreprises à travers l'écriture musicale pour le film, des compositeurs du XXe siècle, de l'avènement du cinéma parlant à l'âge d'or des années de l'après-guerre. Il y est mis en évidence l'apport et le retentissement de cette musique de film sur la création musicale et artistique du siècle, dégageant les techniques et les systèmes de composition instaurés par la mise en place de la musique sur les images, et dévoilant les écritures insoupçonnées et captivantes de nombre de compositeurs majeurs du siècle. De Jacques Ibert à Arthur Honegger, d'"Autant en emporte le vent" de Max Steiner au "Jour se lève" de Maurice Jaubert, d'"Espoir" de Darius Milhaud à "Citizen Kane" de Bernard Herrmann, en passant par la "Belle et la Bête" de Georges Auric, l'analyse musicale des partitions de film révèle le renouvellement et l'approfondissement du processus compositionnel. Il en résulte une nécessaire extension des réflexes d'écriture et de leurs bases structurelles, en accord avec les principes d'un bâti architectonique créatif et logique, où les sonorités nouvelles s'imposent comme facteurs essentiels du discours et de l'expression cinématographiques, à l'avant-garde de toute dynamique filmique nouvelle. En cela, divers courants musicaux se dessinent et fixent, en les confortant, les systèmes d'écriture. Leurs aboutissements cristallisent la recherche musicale et les expérimentations des années premières, et concrétisent une syntaxe spécifique. Cette syntaxe instaure le refus de la facilité et déjoue les contraintes filmiques par une recherche de la consicion formelle et dans le maniement de la matière sonore. Cette étude invite à la redécouverte d'un large patrimoine musical de film et à la prise de conscience de sa valeur artistique, de son amplitude et de l'urgence de le pérenniser. Des entretiens ajoutent le témoignage de la sensibilité et de l'attachement portés au genre musical naissant du film, et soulignent l'intérêt porté au travail des compositeurs et à leur investissement dans ce mode spécifique de création musicale. "
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Groleau, Catherine. "Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67160.
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Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques.The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
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Anadachee, Krishna. "Examination of outsourcing in an accounting firm : a shift in the unit analysis : ethnographic study of blocks to knowledge sharing." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/3172fa97-53ab-e518-6ad8-c7b4b41642c4/9/.
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In the last few years accountancy firms have started to use outsourcing due to market pressure to be competitive. The industry is highly regulated, and outsourcing poses constraints including confidentiality of information, regulatory restriction and ethical implications. The legal and ethical responsibility of any work outsourced remains with the accounting firm that has purchased the outsourcing service, and not with the outsourcer. Since the aim of outsourcing is to make the accounting firm more efficient, it needs to be sure that the benefits of outsourcing will exceeds the costs and risks of the process. As a knowledge-based industry, this gives the sharing of knowledge a central role in outsourcing. Outsourcing in accounting creates a relationship not only between two organisations, but more importantly among those organisations' workers. The main asset of an accounting firm is its staff and their specialist knowledge. Most outsourcing studies focus on the relationship between organisations, with little emphasis on the relationship between workers. A particular quality of accounting is that workers are the owners of their own knowledge, and firms employ these workers without having a definitive right to the sharing of their knowledge. An efficient working environment stems from the workers' ability to share their knowledge (their assets) within the organisation and in an outsourcing process. The objective of this research is to understand the blocks to knowledge-sharing in a medium-sized accounting firm from an individual unit of analysis with focus on its outsourcing operations. This study examines the following research questions: What is the influence of trust and power on knowledge-sharing from the individual perspective? How does accounting outsourcing create a shift in the unit of analysis, and how does it differ from other types of outsourcing? From the perspective of the individuals involved, what are the blocks to knowledge-sharing within the firm and within its outsourcing operations? To be able to study worker relationships and behaviour in detail, data for analysis was gathered using the participant observation method. The study finds that trust and power are important elements that can influence the sharing of knowledge among individuals. The main types of trust that influence knowledge-sharing, particularly in head office, are found to be benevolence and competence trust, while one of the main factors to influence trust within the outsourcing context is communication. Lack of communication creates fear among in-house staff and thus makes outsourcing contractors less trustworthy. Power is mainly driven by specificity of knowledge and individualism; these two factors promote the use of knowledge as a power tool. Trust and power are blocks to knowledge-sharing in the organisation's in-house activities, but are less influential in blocking knowledge in outsourcing, where the two main blockages are: (i) Physical distance and lack of suitable technological platform to share knowledge, and (ii) Gap in knowledge awareness between the accounting firm and the outsourcing provider. Accounting outsourcing is shown to be different from other types because it is the outsourcing of a core competence (known as third generation outsourcing), and also of knowledge-based work. The accounting firm uses outsourcing within its legal and ethical limits, reducing costs indirectly, because it has to negotiate the profession's constraints. In this context there are two types of outsourcing, namely internal and external outsourcing. This research applies participant observation to an original context and shows the importance of using such a method in future management studies.
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Dammak, Soulef. "Impact de la fiscalité sur les décisions et modalités de financement des investissements, ainsi que sur la valeur de la firme : analyse comparative (France, Allemagne, Royaume Uni, Etats Unis et Tunisie)." Nice, 2006. http://www.theses.fr/2006NICE0035.
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L'objectif de cette recherche consiste à étudier dans quelle mesure l'imperfection du marché résultant de la fiscalité directe des sociétés et de l'imposition personnelle, dans des contextes financiers, comptables et fiscaux différents, affecte les décisions stratégiques (investissement et financement) de la firme ainsi que sa valeur. Dans la première partie nous avons présenté le cadre théorique de la relation entre la fiscalité et la décision d'investissement tout en mettant l'accent sur l'effet de la fiscalité directe des sociétés et de l'imposition personnelle sur la décision d'investissement dans le cadre de la théorie néoclassique et de celle de q de Tobin. Ensuite, nous avons développé le cadre conceptuel qui englobe les théories fiscales et financières portant sur le choix des modalités de financement des investissements et la valeur de la firme. Le cadre théorique fiscal s'inspire de l'hypothèse de neutralité en absence de fiscalité, de l'hypothèse d'intégration de la fiscalité des sociétés, de l'hypothèse d'intégration de l'imposition personnelle et de l'hypothèse de substitution de la dette, alors que les théories financières développées concernent la théorie d'arbitrage, la théorie d'agence, la théorie de la hiérarchie des sources de financement ainsi que l'asymétrie d'information. Dans la deuxième partie nous avons réalisé une étude empirique dans des contextes différents afin de mettre en évidence les répercussions de la fiscalité sur les décisions d'investissement, leurs modalités de financement et sur la valeur de la firme. En appliquant la méthode des moments généralisés sur des données de panel collectées pour la période observée de 1997 jusqu'à 1999, trois modèles sont estimés utilisant des variables qui expliquent l'effet de l'impôt sur la décision d'investissement, en actifs corporels, et le financement de ces investissements au sein de la firme ainsi que l'impact de ces deux décisions sur la valeur de la firme dans cinq pays dont chacun adopte un régime différent d'imposition des sociétés et des individus à savoir la France, l'Allemagne, le Royaume Uni, les Etats Unis, et la Tunisie. Les résultats obtenus ont permis de répondre, en partie, à la problématique de recherche dans la mesure où nous avons constaté que certaines variables fiscales introduites dans les modèles estimés ont eu un impact, qui diffère d'un contexte à un autre, sur le niveau d'investissement, les modalités de financement ainsi que sur la valeur de la firme: The objective of this research is to study to what extent the imperfection of the market, the result of corporate direct taxation and personal taxation in different financial, accounting and fiscal contexts, affects the investment and financing decisions of the firm and its value. In the first part, we have presented the theoretical framework of the relation between taxation and the investment decision focusing on the effect of corporate direct taxation and personal taxation on investment decision in the neoclassical theory and Tobin's q theory. Next, we have developed the framework that includes the financial and fiscal theories regarding the choice of investment financing modes and firm value. The fiscal theoretical framework developed arises from the neutrality hypothesis without taxation, integration corporate taxation hypothesis, integration personal taxation and substitution debt hypothesis while the financial theories are concerned with static trade off theory, agency theory, pecking order theory and information asymmetry. In the second part, we have realized an empirical study in different contexts to justify the repercussions of taxation on the investment decision on their financing modes and on the firm value. By applying generalized method moment to level panel data during the period 1997 until 1999, three models are estimated to use variables that explain the effect of taxation on fixed investment decision, on investment financing and the impact of these two decisions on the firm value in five countries where each adopts different taxation system: France, Germany the United Kingdom, The United States and Tunisia. The results permitted to answer, in part, the problematic of research in so far as we have noticed that some fiscal variables introduced in the valued models had an impact, which differs from context to another, on the level of investment as well as on the modes of financing and firm value
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Trausch, Tim. "Maskulinität, Körperlichkeit und Gewalt im Kino Hongkongs am Beispiel der Regisseure Chang Cheh und John Woo." Würzburg : Univ., Inst. für Kulturwissenschaft Ost- und Südasiens - Sinologie, 2008. http://www.opus-bayern.de/uni-wuerzburg/volltexte/2009/3445/.
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Skácel, Petr. "Podnikatelský záměr rozvoje firmy." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2009. http://www.nusl.cz/ntk/nusl-222255.
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This diploma thesis is focused on the present situation analyse of the company IVANA ČECHOVÁ. The begining part contains the characteristic of the analysed company and the theoretically resources. The practicall part is focused on the company problems and present situation analyse, from which the most significant lacks of business developement are determined. The improvement proposal represents the entrepreneurial intension of the company IVANA ČECHOVÁ. The examination of the entrepreneurial intension aimed at European funds is in this thesis mentioned too.
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Schrimpel, Michal. "Řízení projektů v obchodní firmě zabývající se vývozem investičních celků." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2011. http://www.nusl.cz/ntk/nusl-223297.
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The master’s thesis is focused on project management in Trade Company engaged in export of capital equipment. The Company expanded its offered product portfolio and now is focused to small cogeneration unit market. This work proposed a solution of project management in this new market area. The proposed solution is applied to a specific project of installation of small cogeneration unit.
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Ma, Jie. "Alternative Water Soluble Polymeric Films to Poly(vinyl alcohol) for Single Unit Dose Products." Doctoral thesis, Universitat Rovira i Virgili, 2020. http://hdl.handle.net/10803/669413.
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La beina de detergent de safareig és una bossa soluble en aigua que conté detergent de roba altament concentrat, actualment la bossa és de poli (alcohol vinílic) (PVA). A mesura que el negoci continua creixent, P&G voldria trobar altres materials capaços de substituir el film PVA. L’objectiu d’aquest projecte de doctorat és buscar materials alternatius per al film SUD, que tinguessin una compatibilitat detergent similar, solubilitat en aigua, permeabilitat i propietats mecàniques com la pel·lícula PVA. A més, voldríem descobrir si el nou material aportaria nous beneficis.
En aquesta tesi, es van preparar films fetes de polietil·len glicol (PEG), alginat de sodi, material Lactips, material de caseinat, així com les seves barreges amb PVA, es van provar propietats d’aquestes films i es van preparar prototips d’algunes de les films. Es va seleccionar la colada de solucions com a mètode per preparar les films.
Aquesta tesi està composta per 8 capítols. A part del capítol 1 (introducció general i objectius), el capítol 2 (materials i mètodes de prova) i el capítol 8 (conclusions generals i treballs futurs),
El capítol 3 descriu les films basades en PEG i les seves propietats;
El capítol 4 descriu les films basades en alginat de sodi i les seves propietats;
El capítol 5 descriu les films basades en materials de Lactips, així com les seves propietats;
El capítol 6 descriu el prototipat de bossa amb la film Lactips i tracta l'estabilitat de la bossa;
El capítol 7 descriu les films basades en caseinat de sodi i les seves propietats.La cápsula de detergente para ropa es una bolsa soluble en agua que contiene detergente para ropa altamente concentrado, actualmente la bolsa está hecha de poli (alcohol vinílico) (PVA). A medida que el negocio continúa creciendo, P&G desea encontrar algunos otros materiales capaces de reemplazar la film de PVA. El objetivo de este proyecto de doctorado es buscar materiales alternativos para la película SUD, que tendrían una compatibilidad detergente similar, solubilidad en agua, permeabilidad y propiedades mecánicas como la film PVA. Además, nos gustaría descubrir si el nuevo material traería nuevos beneficios. En esta tesis, se prepararon películas hechas de polietilenglicol (PEG), alginato de sodio, material Lactips, material de caseinato, así como sus mezclas con PVA, se probaron las propiedades de esas films y se prepararon prototipos de bolsa de algunas de las films. Se seleccionó la solución de fundición como método para preparar las films. Esta tesis se compone de 8 capítulos. Además del Capítulo 1 (Introducción general y objetivos), el Capítulo 2 (Materiales y métodos de prueba) y el Capítulo 8 (Conclusiones generales y trabajo futuro), El Capítulo 3 describe las films basadas en PEG y sus propiedades; El Capítulo 4 describe las films a base de alginato de sodio y sus propiedades; El Capítulo 5 describe las films basadas en materiales de Lactips, así como sus propiedades; El Capítulo 6 describe la creación de prototipos de bolsa con film Lactips y discute la estabilidad de la bolsa; El Capítulo 7 describe las films a base de caseinato de sodio y sus propiedades.
Laundry detergent pod is a water-soluble pouch that contains highly concentrated laundry detergent, currently the pouch is made of Poly(vinyl alcohol) (PVA). As business continues to grow P&G would like to find some other materials able to replace PVA film. The objective of this PhD project is to look for alternative materials for SUD film, which would have similar detergent compatibility, water solubility, permeability and mechanical properties as PVA film. Additionally, we would like to discover whether the new material would bring new benefits. In this thesis, films made of polyetheylen glycol (PEG), sodium alginate, Lactips material, caseinate material, as well as their blends with PVA were prepared, properties of those films were tested, and pouching prototypes of some of the films were prepared. Solution casting was selected as the method for preparing the films. This thesis is composed of 8 chapters. Apart from Chapter 1 (General introduction and objectives), Chapter 2 (Materials and test methods), and Chapter 8 (General conclusions and future work), Chapter 3 describes PEG-based films and their properties; Chapter 4 describes sodium alginate-based films and their properties; Chapter 5 describes Lactips material-based films, as well as their properties; Chapter 6 describes pouch prototyping with Lactips film and discusses pouch stability; Chapter 7 describes sodium caseinate-based films and their properties.
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Vormann, Claus Christian. "Decision making in personnel selection A policy-capturing analysis in emerging German IT-firms /." kostenfrei, 2009. http://www.opus-bayern.de/uni-bamberg/volltexte/2009/163/.
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Dumbrovská, Hana. "Analýza procesů s prázdnými obaly ve firmě GEFCO Česká republika." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-197854.
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My master thesis deals with the processes of empty packaging in GEFCO company. The goal is to analyze these processes and propose solutions that the company would bring cost savings and optimization of the flows. In the theoretical part I define returnable packaging, their functions, types, trends and compare different logistic providers. The practical part is about GEFCO focusing on the Czech branch and its processes with returnable packaging
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Tománková, Eva. "EU Structural Funds in the Czech Republic (including the case of the small-sized Czech firm as an applicant)." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-18042.
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The main intention of the author consisted in understandable presentation of the application of Structural and Cohesion Funds in a member state of the European Union, particularly in the case of a small-sized company. The purpose of the diploma thesis was to provide the reader with an overview of European Union Structural and Cohesion Funds in general and of those available in the Czech Republic as well. The opportunities to gain funding from European Union of one small sized Czech firm were examined in the last part of the essay. The case study of Czech enterprise proved that the co-financing of projects in a member state can be cumbersome but also very beneficial when approached properly.