Financing and Production

2018 ◽  
pp. 77-104
Author(s):  
Shweta Kishore
Keyword(s):  
Production Process ◽  
Documentary Film ◽  
Artistic Expression ◽  
Social Functions ◽  
Political Position ◽  
Monetary Rewards ◽  
Production Environments ◽  
Social Alliances ◽  
Public Sectors ◽  
Mode Of Production

Focusing on documentary financing, two forms of organisation appear, an institutionally managed and a private self-managed mode of production initiated in response to the chronic lack of production support for documentary from the industry and public sectors. Filmmakers take concrete actions to resist an instrumental framing of documentary film under a range of social functions and communication discourses in an ongoing struggle for artistic expression. Independence becomes visible in a series of tactical adaptations where standardised media practice is displaced by the formation of cooperative social alliances, the reduced significance of capital in the production process and non-monetary rewards. These re-worked practices implicate the mode of documentary inquiry, textual aesthetics and political position taking to render possible the expression of representational and semiotic concerns within institutional production environments.

scholarly journals Digital Workers of the World Unite! A Framework for Critically Theorising and Analysing Digital Labour

2014 ◽  
Vol 12 (2) ◽  
Author(s):  
Christian Fuchs ◽  
Marisol Sandoval
Keyword(s):  
Production Process ◽  
Digital Media ◽  
Working Conditions ◽  
Social Relations ◽  
New Products ◽  
Analytical Tool ◽  
Work Process ◽  
The World ◽  
Labour Power ◽  
Mode Of Production

The overall task of this paper is to elaborate a typology of the forms of labour that are needed for the production, circulation and use of digital media. First, we introduce a cultural-materialist perspective on theorising digital labour. Second, we discuss the relevance of Marx’s concept of the mode of production for the analysis of digital labour. Third, we introduce a typology of the dimensions of working conditions. Fourth, based on the preceding sections we present a digital labour analysis toolbox. Finally, we draw some conclusions. We engage with the question what labour is, how it differs from work, which basic dimensions it has and how these dimensions can be used for defining digital labour. We introduce the theoretical notion of the mode of production as analytical tool for conceptualizing digital labour. Modes of production are dialectical units of relations of production and productive forces. Relations of production are the basic social relations that shape the economy. Productive forces are a combination of labour power, objects and instruments of work in a work process, in which new products are created. We have a deeper look at dimensions of the work process and the conditions under which it takes place. We present a typology that identifies dimensions of working conditions. It is a general typology that can be used for the analysis of any production process.

scholarly journals Computational Simulation Model of Milk Production Process, Case Study: Dairy Plant FCP-ESPOCH

2018 ◽  
Vol 1 (2) ◽  
pp. 179
Author(s):  
Iván Menes Camejo ◽  
Gladys Lorena Aguirre Sailema ◽  
Katherine Maribel Gallegos Carrillo ◽  
Jorge Ariel Menéndez Verdecia
Keyword(s):  
Computational Model ◽  
Simulation Model ◽  
Production Process ◽  
Milk Production ◽  
Queuing Theory ◽  
Computational Simulation ◽  
Production Environments ◽  
Dairy Plant ◽  
Future Experimentation

Abstract. Computational simulation is a powerful tool that allows the experimentation of variants in production environments, which made on real scenarios, would entail heavy costs for the company. For this, it is necessary to correctly define the model that represents the actual processes involved. This paper presents the development of a computational simulation model, developed with "Siman" programming language and "Arena" software, based on queuing theory for the processes of milk production process in the Dairy Plant FCP-ESPOCH. We sought to determine the efficiency of the computational model using the scientific method, techniques of descriptive statistics and hypothesis demonstration. The results indicate that the data of the model are similar to the real ones in the processes of Daily Crude Milk Reception and Production Daily Pasteurized Milk, concluding that the computational model is valid for future experimentation.

Double-Workshop Plan Model of Mixed Chlor-Alkali Production Process

2009 ◽  
Vol 69-70 ◽  
pp. 611-615
Author(s):  
Xin Hua Dai ◽  
Wan Liang Wang ◽  
Yan Wei Zhao ◽  
H.X. Teng
Keyword(s):  
Production Process ◽  
Production Line ◽  
Profit Maximization ◽  
Joint Production ◽  
Particle Swarm Algorithm ◽  
Planning Problem ◽  
Production Quantity ◽  
Multi Level ◽  
Mixed Batch ◽  
Mode Of Production

Double-workshop mixed chlor-alkali planned model production process is a multi-level multi-product multi-constraint mixed batch planning problem production line model, taking into account the actual production of joint production of dual-workshop mode of production to determine the products and materials at various workshops, various Plan period on the production quantity, at the end of each period to meet the delivery needs of the type and quantity simultaneously, during the product implementation plan the goal of profit maximization. It uses particle swarm algorithm to reach the answer, indicating the feasibility of the method and effectiveness through examples of the calculation.

scholarly journals As metáforas e o cinema de animação: uma análise do filme Meow!

2006 ◽  
Vol 2 (3) ◽  
pp. 44
Author(s):  
Maurício Silva Gino ◽  
Ronaldo Luiz Nagem ◽  
José Tavares de Barros
Keyword(s):  
Structured Interview ◽  
Artistic Expression ◽  
Political Position ◽  
Theoretical Support ◽  
Cultural Experiences ◽  
The World

<p><strong>Resumo</strong>: Este artigo tem por objetivo apresentar as intenções e os significados atribuídos por Marcos Magalhães às metáforas presentes no filme Meow!Por meio de entrevista semi- estruturada, registraram-se as intenções e os significados atribuídos pelo produtor para cada cena ou personagem. Os resultados foram analisados e discutidos tendo como suporte teórico as proposições de Lakoff &amp; Johnson(1), dentre outros. A conclusão a que se chega é que o autor seleciona alguns aspectos de nossas experiências culturais, ao mesmo tempo em que simplesmente desconsidera outros, o que faz do seu filme o veículo de uma realidade metafórica. Nesse sentido, a metáfora apresenta-se como um recurso de fundamental importância para a expressão artística de Marcos Magalhães que, por meio do filme, expõe sua visão de mundo e seus posicionamentos político e ideológico.</p><p><strong>Abstract</strong>: This article aims at presenting intentions and meanings attributed by Marcos Magalhães to the Meow! film. Through a semi-structured interview, the intentions and meanings attributed by the producer, to each scene or character, had been registered. The results had been analyzed and discussed having as theoretical support the proposals of Lakoff &amp; Johnson (2002), amongst others. The conclusion is that the author selects some aspects of our cultural experiences, and at the same time do not consider others, so, this makes the film a vehicle for a metaphoric reality. In this sense, the metaphor is presented as a resource of extreme importance for the artistic expression of Marcos Magalhães, which through the film, shows his vision of the world and his ideological political position.</p><p><strong>Keywords</strong>: metaphors; analogies; cinematographic animation.</p>

scholarly journals Production of the environmental documentary ''PLASTICLYSM''

2020 ◽  
Vol 1 (1) ◽  
Author(s):  
Michalis Katsouris ◽  
Gerasimos Pavlogeorgatos
Keyword(s):  
Production Process ◽  
Documentary Film ◽  
Public Awareness ◽  
Environmental Problems ◽  
Global Scale ◽  
Plastic Pollution

Documentary film is one of the strongest audiovisual means of communication. Its strength comes from the combination of image, audio and information it includes. The use of documentary film to raise public awareness towards many different topics is common throughout history. Nowadays, several environmental documentaries are produced every year. One of the most serious environmental problems that modern societies are facing is that of plastic pollution. In global scale, plastic production is estimated at 300 million tons annually. This paper discusses environmental documentary as a genre and describes the production process of the environmental documentary “PLASTICLYSM”.

Digitalisierung im Dokumentarfilm

2021 ◽  
Author(s):  
Tonio Vakalopoulos
Keyword(s):  
Production Process ◽  
Digital Technology ◽  
Documentary Film ◽  
Documentary Films ◽  
Advantages And Disadvantages ◽  
Digital Production

This book discusses the changes in documentary films due to the opportunities offered by digital production. Twelve renowned documentary film-makers interviewed by the author address the entire production process from the idea behind a film to its distribution. They reflect on the differences between analogue and digital productions, also taking into account the advantages and disadvantages of both and the dangers they pose. Even though the film-makers interviewed use digital technology differently, they all agree on one point: a film must always be thought of in terms of content, while technology, which is merely a means to an end, has to be subordinate to a film’s basic idea, which is an important but often disregarded statement.

Circulating Violence and Value

Social Text ◽  
2019 ◽  
Vol 37 (4) ◽  
pp. 95-102
Author(s):  
Niccolò Cuppini
Keyword(s):  
Production Process ◽  
Social Reproduction ◽  
Wide Spectrum ◽  
Specific Character ◽  
Social Difference ◽  
Critical Scholarship ◽  
Political Commitments ◽  
Conditions Of Work ◽  
Mode Of Production ◽  
The Revolution

In recent years, a new critical scholarship and movement organi-zation that is adopting the lens of logistics has emerged, marked by a profound interdisciplinarity. Powerful voices from a wide spectrum of radical theoretical and political commitments are delineating critical logistics as a field of vitality. This dialogue with Deborah Cowen sums up and expands some of the main interpretative lines of research and action in logistics by insisting on the ways that the revolution in logistics has reshaped work and the conditions of work for those in positions or occupations that may not seem immediately logistical, including quite centrally, in the production process, which Cowen suggests are inextricable from logistics today. However, logistics is a paradigm that cannot be reduced to the mode of production in a classical meaning. Logistics enables us to understand peculiar forms of racialization, social reproduction, and social difference, along with geopolitical dynamics. In fact, logistics is a specific character of contemporary forms of power, and struggles over logistics and its infrastructures are imperial and tied to conflicts over land and livelihoods in a much broader frame, as well as impossibly entangled, as they are all concerned with the power to define who or what moves, where, when, and how. Therefore, logistics can be framed as a complex and productive multifaceted lens through which a new critical comprehension of actual dynamics needs to be framed and deepened.

scholarly journals Waste Analysis Using Lean Manufacturing in the Film Production Process Step 2 Ulama

2021 ◽  
Vol 2 (3) ◽  
pp. 93-97
Author(s):  
Wahyu Sidiq Saputra ◽  
Muhammad Ridwan Andi Purnomo
Keyword(s):  
Human Resources ◽  
Production Process ◽  
Lean Manufacturing ◽  
Documentary Film ◽  
Value Added ◽  
Film Production ◽  
Process Step

Abstract - The film Footsteps 2 Ulama produced by LSBO Muhammadiyah in collaboration with Ponpes Tebuireng Jombang is a semi-documentary film that tells the journey of Kyai Ahmad Dahlan and Kyai Hasyim Asy'ari. At the time of the production of the film Jejak step 2 Ulama in its implementation there were several problems such as delayed production schedules, human resources that were not as needed, scheduling errors, and also production defects in several scenes so that they had to be re-take or it could be said to be re-production to get maximum results, where these problems tend to result in waste or waste. Therefore, a study was conducted to analyze what kind of waste occurs and the most dominant using a lean approach. Based on the results of the study, it was found that waste waiting is the most dominant waste with a weight of 27.11%, then followed by waste over production and excess processing with the same weight of 20.33%, waste defect 13.55%, waste transportation 11.86%, motion 5.08% and inventory 1.69%. From the mapping using process activity mapping, a total of 32 types of activities were obtained, of which 12 were value added activities with a percentage of 50.36%, then 9 of them were necessary non-value added activities with a percentage of 13.13%, and 11 activities included in the non-value category. added with a percentage of 26.49%.

Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema

2019 ◽  
Vol 10 (3) ◽  
pp. 247-259 ◽  
Author(s):  
Jan Henschen
Keyword(s):  
Production Process ◽  
Early Cinema ◽  
Production Schedule ◽  
Feature Films ◽  
Mode Of Production

A case study on Urban Gad’s German shooting script for Die Filmprimadonna (The Film Primadonna, 1913) reviews the screenplay in the production process shortly after the emergence of multiple-reel feature films. In the dramatic story of the rise and fall of a film prima donna, a fictitious screenplay plays an idiosyncratic function in filmmaking that sketches, for the cinematic audience of that time, a specific idea of how and why an appropriate script has to be made. The article offers an analysis of Gad’s preserved script and demonstrates that this screen-idea contrasts with the value and agency of screenplays in the historic mode of production in 1913. Inasmuch as the plot of the movie simply highlights the function of acting, Die Filmprimadonna as a script itself functions as a complex and highly composed agent in the process of filmmaking ‐ as both a narrative and, equally, a production schedule for the film.

scholarly journals Uwaga, ekran, akcja, reakcja. Czym jest dokument interaktywny – perspektywy rozwoju w Polsce na podstawie badań

2018 ◽  
Vol 21 (30) ◽  
Author(s):  
Anna Desponds ◽  
Anna Szylar
Keyword(s):  
Computer Games ◽  
Documentary Film ◽  
Work Conditions ◽  
Artistic Expression ◽  
Market Position ◽  
New Production

Interactive documentaries bring new possibilities of artistic expression. They allow innovative ways of engaging the viewer, personalizing experiences, and building a community. At the same time interactive documentaries bring challenges: the need of new production skills, openness to experimentation, the development of new financing models. There is still a need to create a language to describe new formats. The semantic elusiveity of this area seems to be reflected in its market position. The genre is suspended between film, documentary film and computer games and both the audience and the distributors have difficulties defining it. This text is an attempt to describe what an interactive documentary might be, what sets it apart from other formats, and what’s the viewer’s role in this type of audio-visual formats. We present a few flagship projects from different countries and we look at the Polish audio-visual industry. We conducted a survey, asking Polish artists working on so-called new narratives about their work conditions and the biggest challenges they are facing. The second part of the text covers the results of our study.

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