Competition and innovation : independent production in the Chinese TV industry

Independent television production is recognised for its capacity to generate new kinds of program content, as well as deliver innovation in formats. Globally, the television industry is entering into the post-broadcasting era where audiences are fragmented and content is distributed across multiple platforms. The effects of this convergence are now being felt in China, as it both challenges old statist models and presents new opportunities for content innovation. This thesis discusses the status of independent production in China, making relevant comparisons with independent production in other countries. Independent television production has become an important element in the reform of broadcasting in China in the past decade. The first independent TV production company was registered officially in 1994. While there are now over 4000 independent companies, the term „independent. does not necessarily constitute autonomy. The question the thesis addresses is: what is the status and nature of independence in China? Is it an appropriate term to use to describe the changing environment, or is it a misnomer? The thesis argues that Chinese independents operate alongside the mainstream state-owned system; they are „dependent. on the mainstream. Therefore independent television in China is a relative term. By looking at several companies in Beijing, mainly in entertainment, TV drama and animation, the thesis shows how the sector is injecting fresh ideas into the marketplace and how it plays an important role in improving innovation in many aspects of the television industry. The thesis shows how independent television companies in China are looking to protect their property rights. It demonstrates that far from being at the cutting edge, independents are reliant on a system that has many inbuilt structural problems. The thesis outlines many of the challenges facing 'independents'.

New strength of competition and innovation : China’s independent television production

The state-owned media system in China has evolved considerably since 1994 when the first independent TV production company was officially registered. Today, there are thousands of independent TV production companies looking for market opportunities in China. Independent production companies have facilitated the circulation of program trade and investment, and in the process have encouraged innovation and professionalization. This paper focuses on the evolution of independents and the changing face of the television market. It discusses the ecology of independent television companies in China and how government regulations are impacting on the TV production market. It argues that independent TV is providing a new strength for China‟s TV market, one often suspected of being imitative, propagandistic and lacking colour.

The Australian screen producer: Understanding screen production cultures in a period of industrial transition [Abstract]

The screen producer plays a vital role in shaping the creative, commercial and entrepreneurial dimensions of production. And yet Australian film history is most often presented as an appreciation of film directors or an examination of industrial governance measures. On the other hand, public funding agencies in Australia have, for the most part, supported independent film and television production as a producer-led, or producer-as-auteur production system, and as such the producer has played a critical role in shaping the broader independent production landscape. In recent years, fundamental changes to distribution and consumption practices have had a major impact on the nature of screen production. Screen producers are increasingly migrating into emerging online, transmedia and cross-media production; generating both opportunities and challenges for traditional producers. However, the production cultures and motivations of producers operating in these emergent spaces remain poorly understood. This presentation will focus on the largely unremarked role of the producer in Australian screen scholarship. It will explore the ways in which the practice of screen producing is evolving and the migratory pathways of traditional producers moving into digital/new media production. The presentation’s primary findings are drawn from the 2011 Australian Screen Producer Survey; a national study of the activities of Australian screen producers conducted by the ARC Centre of Excellence for Creative Industries and Innovation (CCI), Queensland University of Technology, with support from the Centre for Screen Business /Australian Film Television and Radio School (AFTRS). From longitudinal analysis, the presentation will compare and contrast data from the 2009 and 2011 survey across film, television, corporate production and new media industry segments. In so doing the presentation will delineate the practices, attitudes, strategies, and aspirations of screen producers operating in a convergent digital media marketplace and suggest ways forward for a more industrially cognisant approach to screen history.

From Aussiewood Movies to Guerrilla Filmmaking: Independent Filmmaking and Contemporary Australian Cinema

Independent filmmaking within the context of Australian cinema is a multifaceted subject. In comparison to the United States, where production can be characterised as bifurcated between major studio production and so-called “indie” or independent production without the backing of the majors, since the 1970s and until recently the vast majority of Australian feature film production has been independent filmmaking. Like most so-called national cinemas, most Australian movies are supported by both direct and indirect public subvention administered by state and federal government funding bodies, and it could be argued that filmmakers are, to a certain degree, “dependent” on official mandates. As this chapter demonstrates national production slates are subjected to budget restraints and cut-backs, official cultural policies (for example pursuing international co-productions and local content quotas) and shifts in policy directions among others. Therefore, within the context of Australian cinema, feature film production operating outside the public funding system could be understood as “independent”. However, as is the case for most English-language national cinemas, independence has long been defined in terms of autonomy from Hollywood, and – as alluded to above – as Australia becomes more dependent upon international inputs into production, higher budget movies are becoming less independent from Hollywood. As such, this chapter argues that independence in Australian cinema can be viewed as having two poles: independence from direct government funding and independence from Hollywood studios. With a specific focus on industry and policy contexts, this chapter explores key issues that constitute independence for Australian cinema. In so doing it examines the production characteristics of four primary domains of contemporary independent filmmaking in Australia, namely: “Aussiewood” production; government-backed low-to-mid budget production; co-productions; and guerrilla filmmaking.

The Aboriginal voice and the left-leaning 'Australia' (Baz Luhrmann, 2008)

Arguing that Baz Luhrmann's "Australia" (2008) is a big-budget, non-independent film espousing a left-leaning political ideology in its non-racist representations of Aborigines on film, this paper suggests the addition of a 'fourth formation' to the 1984 Moore and Muecke model is warranted. According to their theorising, racist "first formation" films promote policies of assimilation whereas "second formation" films avoid overt political statements in favour of more acceptable multicultural liberalism. Moore and Muecke's seemingly ultimate "third formation films", however, blatantly foreground the director's leftist political dogma in a necessarily low budget, independent production. "Australia", on the other hand, is an advance on the third formation because its feminised Aboriginal voice is safely backed by a colossal production budget and indicates a transformation in public perceptions of Aboriginal issues. Furthermore, this paper argues that the use of low-cost post-production techniques such as voice-over narration by racially appropriate individuals and the use of diegetic song in Australia work to ensure the positive reception of the left-leaning message regarding the Stolen Generations. With these devices Luhrmann effectively counters the claims of right-wing denialists such as Andrew Bolt and Keith Windschuttle.

The right thing

For a few years in the mid 2000s, the ABC screened barely any new Australian drama. This record-breaking slump, which reached an all-time low of just three hours of programs in the year ending June 2005, spurred an industry-led campaign and a degree of public controversy that convinced the federal government to increase the corporation’s funding. An extra $70 million was provided for drama, with the majority earmarked for 2011–12. The new twenty-two-part courtroom drama series Crownies, made for the ABC by the independent production house Screentime, is the principal product.

Resposta adaptativa e efeitos das substâncias oxidantes - K2TeO3, H2O2 e paraquate - na produção de biofilme de amostras de Corynebacterium diphtheriae isolados de origens diversas

A difteria é uma doença imunoprevinível que permanece endêmica em diversas regiões do mundo. Além dos casos de difteria clássica, doenças invasivas como endocardite, osteomielite, pneumonia e infecções relacionadas à cateter, tem acometido indivíduos adultos parcialmente imunizados. A natureza multifatorial dos fatores de virulência que favorecem a formação de biofilme e sobrevivência em macrófagos tem sido evidenciada para o Corynebacterium diphtheriae. Entretanto, escassos são os trabalhos que investigaram a influência de condições ambientais na virulência do patógeno. Uma vez que agentes oxidantes são capazes de gerar radicais livres e levar ao estresse oxidativo que, consequentemente, podem resultar em resposta adaptativa e influenciar na formação do biofilme e na virulência bacteriana, o presente trabalho teve como objetivo geral avaliar os efeitos do peróxido de hidrogênio (H2O2), paraquate e telurito de potássio (K2TeO3) em propriedades biológicas de cepas de C. diphtheriae de origens diversas. Os resultados demonstraram que as amostras de C. diphtheriae apresentaram níveis de resistência ao K2TeO3, H2O2 e paraquate, porém em intensidades variadas e independentes da capacidade de produção da toxina diftérica. Algumas amostras, toxinogênicas ou não, isoladas do trato respiratório superior demonstraram resposta adaptativa para H2O2 passando, portanto, a expressar resistência aumentada após uma prévia exposição ao referido agente oxidante. C. diphtheriae não exibiu respostas adaptativas para o K2TeO3 e paraquate. C. diphtheriae foi capaz de produzir biofilme na superfície de substratos abióticos de natureza hidrofílica (vidro) e hidrofóbica (poliestireno) na presença de agentes oxidantes K2TeO3, H2O2 e paraquate. A presença dos agentes oxidantes influenciou na formação de biofilme de algumas amostras. O paraquate inibiu a produção de biofilme de todas amostras. A amostra TR241 teve a produçao de biofilme inibida na presença dos três agentes oxidantes analisados. Por outro lado, a presença de H2O2 e do K2TeO3 estimulou a produção de biofilme de algumas amostras. Para todas as amostras de C. diphtheriae testadas, independentes das origens, biotipos e da capacidade de produção de toxina diftérica, os ensaios moleculares indicaram a presença de sequências gênicas cromossômicas homólogas, codificadores da proteína DIP 0906 (TeR) e da proteína DIP 1421 (OxyR), envolvidos na resistência ao telurito e na proteção contra o estresse oxidativo, respectivamente. Não foi observada correlação da suscetibilidade e a resposta adaptativa aos agentes oxidantes com as diferentes características bacterianas: origem, sítio de isolamento, produção de toxina diftérica, metabolização de sacarose e produção de biofilme. Em conclusão, o estresse oxidativo foi capaz de influenciar fatores de virulência do C. diphtheriae, como a capacidade de produçao de biofilme, que podem estar contribuindo para a patogenia da difteria clássica assim como de doenças invasivas causadas por cepas atoxinogênicas.

Exhausted CD8 T cells downregulate the IL-18 receptor and become unresponsive to inflammatory cytokines and bacterial co-infections.

During many chronic infections virus-specific CD8 T cells succumb to exhaustion as they lose their ability to respond to antigenic activation. Combinations of IL-12, IL-18, and IL-21 have been shown to induce the antigen-independent production of interferon (IFN)-γ by effector and memory CD8 T cells. In this study we investigated whether exhausted CD8 T cells are sensitive to activation by these cytokines. We show that effector and memory, but not exhausted, CD8 T cells produce IFN-γ and upregulate CD25 following exposure to certain combinations of IL-12, IL-18, and IL-21. The unresponsiveness of exhausted CD8 T cells is associated with downregulation of the IL-18-receptor-α (IL-18Rα). Although IL-18Rα expression is connected with the ability of memory CD8 T cells to self-renew and efflux rhodamine 123, the IL-18Rα(lo) exhausted cells remained capable of secreting this dye. To further evaluate the consequences of IL-18Rα downregulation, we tracked the fate of IL-18Rα-deficient CD8 T cells in chronically infected mixed bone marrow chimeras and discovered that IL-18Rα affects the initial but not later phases of the response. The antigen-independent responsiveness of exhausted CD8 T cells was also investigated following co-infection with Listeria monocytogenes, which induces the expression of IL-12 and IL-18. Although IL-18Rα(hi) memory cells upregulated CD25 and produced IFN-γ, the IL-18Rα(lo) exhausted cells failed to respond. Collectively, these findings indicate that as exhausted T cells adjust to the chronically infected environment, they lose their susceptibility to antigen-independent activation by cytokines, which compromises their ability to detect bacterial co-infections.

Docweb: análise do documentário on-line HayMotivo.com

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Canais públicos de televisão digital e as possibilidades de arranjos produtivos locais do audiovisual

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Diferenciações na produção siderúrgica e implicações para o desenvolvimento na Amazônia Oriental Brasileira

As estratégias de modernização da Amazônia concebidas pelo Estado nacional tinham em sua proposta as fragilizadas diretrizes geopolíticas de segurança e desenvolvimento regional, voltadas centralmente para a instalação de empreendimentos industriais, dentre elas as indústrias siderúrgicas independentes, sob a noção de que desta atividade passaria para a produção produtos de aço e assim se processaria o desenvolvimento regional. Pela análise das diferenciações das rotas de produção independente, integrada e semi-integrada é possível se compreender como os elementos das plantas industriais se comportam em cada rota e como se inter-relacionam com a socioeconomia regional. O trabalho de pesquisa junto à guseiras permitiu identificar que a instalação de siderúrgicas independentes nos municípios de Açailândia (MA) e Marabá (PA) gerou expectativas frustradas de desenvolvimento local, consolidando-se, portanto, apenas como atividade que possibilitou o crescimento econômico, pois manteve uma rota de produção que articulou a atividade com a socioeconomia regional em bases frágeis e insustentáveis, apoiada, sobretudo na demanda de carvão vegetal. As estruturas de custos e elementos estruturais de cada rota permitiram identificar as diferenças que cada rota apresenta, principalmente na relação mantida com a economia regional, por envolver novos processos, tecnologias e produtos diferenciados. A lógica produtiva das siderúrgicas independentes baseadas na transferência e externalização de custos para a sociedade, relações de trabalho limitadas e na degradação ambiental, sem, contudo, estabelecer processos de inovação, conduziu ao não estabelecimento de processos de desenvolvimento de base local. A perspectiva das rotas de produção siderúrgica integrada e semi-integrada que se instalam na Amazônia tem bases para alterar o cenário regionalmente desenhado e transformar as inter-relações mantidas pela siderurgia independente na Amazônia Oriental, pois articulam elementos que contribuem para a consolidação de efeitos de encadeamento para trás e para frente.

O tempo que os escravos tinham para si: um estudo sobre autonomia escrava em Itu de 1850 a 1888

Pós-graduação em História - FCHS

Search for supersymmetry using razor variables in events with b-tagged jets in pp collisions at root s=8 TeV

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Games independentes: plataformas de inovação das novas mídias no contexto da economia criativa

Creative spaces need freedom. Any productions, especially with artistic content, need space to mistakes, that is, for an attempt away from the standard. The independent production environment is recognized in different artistic sectors as a space for innovation, to be free of the serial production logic. The major innovations in the international scenario of games came from the independent productions. Great classics revolutionized the aesthetics and functionality of this new media. This project aims to analyze the productive chains of Brazilian independent games, starting with a regional analysis. The goal is to observe the factors responsible for the innovation that these games can offer, the management aspects of creative processes, articulation of innovative agents and resources mobilized. Brazil currently has the fourth largest gaming market in the world with expectation of strong growth for years to come, but arises in the international market as a consumer. Given this regional demand is necessary to study the tools of production, even to help fill that need. Not only the production of games should be thought, the media coverage is also another important factor, in view of the economic importance of this segment. Understanding the mechanisms of innovation in the gaming universe, its impact on the formation of public and coverage of specialized journalism in this new media are possible outcomes of future studies and research that scientific research can contribute