RESEARCH ON THE APPLICATION OF TRADITIONAL CHINESE PHILOSOPHICAL THINKING IN FILM AND TELEVISION MUSIC COMPOSITION

The essential purpose of this research study is to determine the impact of modern technology on human resources management and sustainable development in pharma industries. This research study is based on primary data analysis for measuring data to develop different questions related to modern technology and human resource management also sustainability development in pharma industries. To determine the research data used, smart PLS software generates different results such as smart PLS Algorithm, R square, F square, the discriminant validity, reliability, and presents the total effect between independent and dependent indicators. According to the overall research study, modern technology includes custom software development, virtual reality, and augmented reality. These are all considered independent variables. Human resource management is the main dependent variable. It includes training management, organizational change management, and performance management; these are sub-parts of dependent variables. Sustainable development is another dependent variable its presents the effect of modern technology. According to the overall research study, the result found that human resource management shows a positive and significant effect with modern technology. Virtual reality and augmented reality are directly related to human resource management and organizational performance.

The essential purpose of this research study is to analyze the relationship among information technology, precision agriculture, and sustainability. This research study is related to primary data analysis, which determines the research used specific questions related to the variables. The open-ended and closed-ended questions are used for gathering the data, and these questions fulfill from different participants who have knowledge about sustainability, information technology, and agriculture. For measuring the data, used smart PLS software and generated different informative results such as indicator correlation, R square, F square, discriminant validity, and composite Reliability. Also, that smart PLS Algorithm model in between independent and dependent variables. Information technology is the main independent variable, and precision agriculture, also sustainability are both dependent variables. The overall result found that information technology positively relates to precision agriculture. The significant and direct relation with sustainability and information technology are positively associated with each other.

The development of philosophy has spawned a new type of interpersonal relationship, namely network community. As the main group of network applications, college students are an important part of the network community. Different from traditional thinking, community philosophical thinking has the remarkable characteristics of “equality, interaction, openness, and cooperation.” In the new media environment, we should fully learn from and learn philosophical thinking, carry out mechanism innovation, and form a “decentralized” network education community system; create a borderless network “education ecology”; build a network education model integrating “self-education” and “peer education”; promote the upgrading of network education mechanism from “one-way traffic” to “interactive participation”; and innovate the education mechanism in four aspects, so as to better meet the requirements of Education under the new media environment and improve the effect at the same time. Facing the era environment of philosophy and technology, the community environment should rely on the network community to study the innovation path. This paper first analyzes the connotation and characteristics of the online community, then discusses the innovation mechanism and communication significance of philosophical thinking based on the online community, and finally summarizes the innovation path of philosophical thinking based on the online community. By combing the impact and challenges brought by philosophy, this paper analyzes the necessity and importance of constructing innovation mechanisms under philosophical thinking, explains the rationality and superiority of innovation mechanisms under philosophical thinking, and puts forward some suggestions on constructing innovation mechanisms and communication path.

Similar to many creative (and other) industries, the film and television industries have for long been permeated by male norms, and by the male worker as the norm. In this context, women workers have always been considered "oddities" – unless they have acted in front of the camera. To a large extent, women have been (and still are) image (Fischer, 1976; Mulvey, 1975). Women's work behind the camera have been counteracted, not least through efforts to exclude them from positions characterized as "creative" or "above-the-line" such as director, producer, and script writer. Further, women have been met with pervading difficulties in allocating finances for their projects and with circumscribed possibilities to have their work screened in the cinema. And although (a few) women are key through their function as "image," films with a woman protagonist are usually provided with a lesser budget than films with a male lead, and women actors get distinctly less paid than their male counterparts (SFI, 2018, https://www.forbes.com/sites/natalierobehmed/2017/08/22/full-list-the-worlds-highest-paid-actors-and-actresses-2017/?sh=2e1c961f3751). Let us give an example of the former: in the Swedish film industry, recently hailed worldwide of being one of the most gender equal screening industries, feature films made between 2013 and 2016 differed in terms of budget depending on the whether the protagonist in a film was male or female. Films with a male lead had on average a 33% higher budget than films with a woman lead. In that same period, women feature film directors had on average a budget ranging between 66% and 86% of the budget of films with a man as director (SFI, 2018). The report published in 2018, by the Swedish Film Institute, concluded that: "[films with women in] key functions generally have overall lower budgets than men" (SFI, 2018, p. 17). Following the international impact that the #Metoo-movement has had and still has, and the recent demands for a 50/50 dispersion between men and women on above-the-line positions in the film industry, gender issues have advanced to the forefront in discussions dealing with the working situation in the film and screen industries. These discussions have appeared in various national contexts in print and social media, as well as in academic work (see, e.g., Jansson et al., 2020; Liddy, 2020; Marghitu, 2018; Meziani & Cabantous, 2020; O'Brien, 2019). It has become obvious that gender inequality pervades all screen industries, large and small, and that women screen workers in different national screen contexts share similar experiences. As film and television production is becoming more and more globalized, with single productions often being the outcome a variety of regional and national industries, finances and competences, working and gendered experiences of being in the industry are also becoming increasingly globalized. Still, there are regional and local differences in how women screen workers experience their work and career situation and these need to be addressed. There are also various aspects of screen work that remain to be tended to academically. Hence, this special section offers a sample of national and local studies that all investigate how gender and equality work is done in four different contexts. It is our hope that this small sample may inspire not only more studies of national contexts, but also inspire to future cross-national studies. Before discussing how various academic fields have engaged with the screening industries in terms of work experience and representation, we wish to point out that film and television, as two available media formats reaching large and heterogeneous audiences, constitute two of the most central expressions of our time, and that both contribute to reflect and mold our understanding of society, of others – and of ourselves (de Lauretis, 1987; Dyer, 1993). Questions about who is allowed to make film and TV and what messages and images are presented and conveyed are thus politically important and imperative. The long-standing male dominance in the industry, together with the realization that images do matter, has sparked an interest in studying gender in the screen industries. The gender conditions in the film industry have attracted scholarly attention across the variety of disciplines in the social sciences and the humanities, and this special section is a vivid example of this cross-disciplinary scholarship. Three specific, but interrelated fields stand out when it comes to the study of gendered work and inequalities in these industries: production studies, management and life work studies, and studies of women's presence and conditions in screen work. In management studies and work life research, the early 2000s saw an increased interest in focusing and exploring the working conditions in the screening industries, alongside the growing interest for working experiences in what often referred to as the creative industries (see, e.g., Blair, 2001; Delmestri et al., 2005; Ebbers & Wijnberg, 2009; French, 2020; Jones & Pringle, 2015; Meziani & Cabantous, 2020; Soila-Wadman, 2003; Sörensen & Villadsen, 2014). This strand has also included a certain focus on how film can be used as a tool for instruction on how to exert leadership (see, e.g., Bell & Sinclair, 2016). Parallel to this development is the emergence of production studies, emanating from film and television studies. This field explores film and media as cultural practices of media production, and it does so from a variety of perspectives and with various methods. Of particular pertinence here is the sub-field of feminist production studies. This field engages in studying how "routines and rituals […], the economic and political forces […] shape roles, technologies, and the distribution of resources according to cultural and demographic differences" (Mayer et al., 2009, p. 4) in order to understand how "power operates locally through media production to reproduce social hierarchies and inequalities at the level of daily interaction" (Mayer, 2009, p. 15). One of the field's most important contributions here is the critique of the "auteurist" view that films are the "voice" of one single artist, most often the director. Instead, they argue that films are the result of collective work. Departing from this insight, production studies scholars have noted the importance of studying the work that is carried out in the margins, to question the differentiation between "creative" and "craft" professions in film making, and to pay attention to the work done "below-the-line" by workers in the film industry who are seldom credited, but without whose work films would not be produced (see, e.g., Banks, 2009, 2018; Banks et al., 2016; Mayer, 2009, 2011; Mayer et al., 2009). Alongside these two areas of research, there is a third, and more recent, strand that is dedicated to studying women's presence, analyzing policy measures targeting gender (in)equality along with studying impediments to gender equality in the film industry and women's conditions in a male dominated screening industry. This strand of research comes out of feminist media studies as a rather broad field, encompassing both the humanities and the social sciences. While research in both management studies and productions studies constitute important foundations for any research conducted on gender and screen work, for this special section, it is this third strand that is of most relevance, taken that it embraces and explores both local and the global aspects of women's conditions in the male dominated screening industries. Let us therefore shortly present this strand a bit more – and the issues it has raised – in order to give a contextualization of this special section and its four articles. Studies of women's presence in the film industry have mapped the number of women behind the camera, sometimes also including an intersectional analysis and identified gendered budget-gaps and other impediments to gender equality (Cobb, 2020; Lauzen, 2019; Liddy, 2020; Smith et al., 2013). Much of this research is conducted in the United States, discussing the conditions in a film industry that is exclusively driven by private, and most often commercial, stakeholders. In other commercially focused film centers such as Bollywood in India and Nollywood in Nigeria, women behind the screen are reported to be few and the representation of women on screen stereotypical (Mukherjee, 2018; Prakash, 2020; Ukata, 2020). In other contexts, such as Europe, Australia, New Zealand, and Canada, where there is public support for film production, gender equality is often proclaimed to be a goal. For instance, the Council of Europe (2017) declared its dedication to gender equality in film production in the so-called Sarajevo-declaration, and according to a mapping carried out by the European Audiovisual Observatory in 2019, 15 EU countries have introduced gender equality measures (EAO, 2019, p. 16). In a recent anthology collecting evidence from a number of countries, media scholar Susan Liddy concludes that while demands for gender equality has been voiced by women in all contexts, public funding institutions range from those being "gender blind… to those who theoretically commit to equality but prevaricate on the best measures to implement change to others who have introduced formal gender policies and intervention strategies" (Liddy, 2020, p. 2). Scholars have pointed to several problems with gender equality policies and reforms in the film sector: they are often vague and without a plan for implementation (Thorsen, 2020), they only reach those who are involved in projects actually funded by public means (Cobb & Williams, 2020), and they lack intersectional intention and reach (Cobb & Williams, 2020; Thorsen, 2020). Further, when reforms are implemented, problems arise because making films include a range of different stakeholders and parties, which are out of reach of government policies (Jansson, 2016), and because the film industry is entrenched with institutionalized norms and values that is difficult to change and which tend to reduce the effects of policies (Jansson, 2017; Jansson & Wallenberg, 2020). Scholars investigating women's conditions in the film industry have for a long time indicated that the way the industry is organized both formally and informally benefits white men. The sexual division of labor in the organization is manifested in women being found on positions such as script supervisors, costume designers, and make-up artists, as well as in various below-the-line positions. Many below-the-line professions are dominated by men, and the female dominated positions such as the ones mentioned above, tend to have lower status (Banks, 2009). Scholars have also noted differences in status among above-the-line professions. For instance, while male directors and scriptwriters are considered to be able to "carry" a movie, women directors and scriptwriters are not considered to do so (Bielby & Bielby, 1996, Eikhof and Cole in this issue). The trope of the male genius has been discussed as a hindrance to gender equality in several studies (see, e.g., Lantz, 2007; Marghitu, 2018; Regev, 2016; Schatz, 1988; and by Jansson et al. in this special section). Studies have also looked into how other features of the way the film industry is organized affects gender and concluded that the outcome of networking differs substantially to the favor of men (Grugulis & Stoyanova, 2012). Moreover, mothering duties limits women's possibilities in an industry where long days and extremely intense periods of work away from home are considered to be the normal procedure (Liddy, 2017; Liddy & O'Brien, 2021; O'Brien, 2015, 2019; Wing-Fai et al., 2015; Wreyford, 2013). Considering all these past (and recent) studies, there is no doubt that the screening industries – as production sites and as workplaces – are of definite interest to scholars within different disciplines. This special section aims at addressing some of the issues that recent scholarship has touched upon and tried to tackle, and it does so from four different national and cultural contexts. At the center of all four articles included in the section is the analysis of women's conditions in the screening industries, including their experiences of working and trying to get by – and of how these industries continue to foster the notion of women film workers as "oddities" in an industry that continues to uphold the idea of the genius as male. Let us now turn to the four articles included in this special section. In our first article, "The price of motherhood in the Irish film and television industries," media scholars Susan Liddy and Anne O'Brien discuss the continuous problems that surround motherhood and screen work, finding in their material evidence that there is a systemic bias against mothers, not only as women, but also as women and mothers, and that mothers have internalized the marginalization that comes from their maternal status. They have also found that many mothers adapted ways that would help them to sustain their working lives, but they were rarely supported in those adaptations by the screen production industry. In "'Almost a European, but not quite': Experiences of Female Employees in the Lithuanian Film Industry from the Postcolonial Point of View," authors Lina Kaminskaite and Jelena Salaj discuss how the women filmmakers experience their conditions in a film industry that is still marked by the transformation of Lithuania from being part of the Soviet union to becoming a country which is a member of the EU. They argue that the Lithuanian film industry is characterized by being in a postcolonial state. While the opening up of Lithuania has meant new possibilities for women film workers, it has also presented difficulties and the negotiation of new identities and new mode of film production. Doris Ruth Eikhof and Amanda Cole focus on how women are considered a risk in film production and how this leads to precarious conditions for women in the industry. In their article named, "On the basis of risk: Screen directors and gender inequality," they use the intersectional risk theory to understand how gender inequality is related to risk management practices in the screen industry. Studying two specific gender equality initiatives in the Canadian film industry, they show how risk management is gendered, and they argue that risk plays an important part in decision making in the industry. By understanding how risk is gendered, they argue, it is possible to change the processes that decides how risk is understood. The last article included in this special section departs from the much-debated aspect of film production, namely the final saying over a film's final format. In "The Final Cut," authors Maria Jansson, Frantzeska Papadopoulou, Ingrid Stigsdotter, and Louise Wallenberg discuss how the relationship between film director and producer serve to reproduce gendered relations that position the male creator and producer as norm – even in contexts where both director and producer are women. Departing from a series of interviews made with mostly women working in these two professions, the authors show how these two above-the-line professions are still governed by the malestream and that they tend to be constructed in relation to masculinity. Clearly, even in a country like Sweden, often hailed for its equality work, the gender equality measures that are undertaken are not sufficient to come to grips with gender inequalities and the male norm. Taken together the four articles shed light on different aspects of the film industry. The evidence provided from the different countries indicate that there are many similarities in the challenges that women in the film industry face. However, there are also differences depending on context. The article about Lithuania shows the importance of situating the film industry in a historical and political context. O'Brian and Liddy show in their article, the importance of understanding the specific context of how child care and the welfare state play out in order to capture women's conditions in film and television work. Eikhof and Cole's article demonstrates the necessity of applying an intersectional approach in order to also see differences in conditions between women, even if they work in the same industry and the same country. The article on Sweden, finally, looks deeper into how specific gender equality policies targeting the film industry plays out, and what problems remain, after having been implemented for almost 20 years. We believe that this special section is one step toward a deeper understanding of how gender shapes the working conditions in the film industry, and hope that it will inspire further research that takes a wider, more inclusive and possibly also more comparative grip on women screen worker's experiences and work conditions. This work was supported by the Riksbankens Jubileumsfond under Grant no. P17-0079:1. No conflict of interest has been declared by the authors. The authors confirm that the data supporting the findings of this study are available within the article and/or its supplementary materials.

The essential purpose of this research study is to describe the relationship between inclusive education and its development with the philosophy of religion in Peru. Based on the primary data analysis for collecting the data, this research study used informative questions related to the independent and dependent variables. These data were gathered from people who know about inclusive education and development. Some questions were fulfilled by students of schools and colleges. The research study used smart PLS software and generated different results to investigate. Inclusive education and its development is the primary independent variable, including the physical environment, sensory attitude, expectations, and opportunities; these are all sub-parts of an independent variable. The philosophy of religion is the main dependent variable. The composite reliability, discriminant validity, R square, F square, total effects, significant analysis, and the fitness analysis model also describe the Algorithm model of smart PLS related to the inclusive education and development and philosophy of religion. The overall result found a positive and direct relationship between inclusive education and its development with the philosophy of religion in Peru.

Both in Soviet and modern Russian cinema, the "author's" film (and A. Tarkovsky created his films in this format) has always been highly appreciated, although often more by critics than by the public. The attendance of the "author's" or, as it is called today, arthouse film made much to be desired. However, despite the high status of the "author's" film, the theory of cinema has not been able to fully understand its nature until today. In this article, the author tries to show that the elimination of this lacuna in film studies was hindered by the lack of understanding about art and, in particular, about cinema as a philosophical phenomenon, as a kind of philosophical thinking. Russian Russian art, meanwhile, has long been a tradition of such representation, as evidenced, for example, by Russian literature. A convincing example here can be the work of Tarkovsky's favorite author, Dostoevsky. The peculiarities of philosophizing in Russia are largely related to that. that it often appears here in artistic forms. Therefore, it does not seem strange to pose in this article the question of whether film directors can also be philosophers. In Western philosophy, this question was raised, for example, by J. Deleuze. In Russia, it was staged in connection with the work of K. Muratova by M. Yampolsky, arguing that K. Muratova is the only philosopher in Russian cinema, which, of course, is incorrect. I. Evlampiev and D. Salinsky have already stated that philosophical thinking is also inherent and even primarily in Tarkovsky. M. is trying to give his answer to this question, referring to the authority of M. Mamardashvili, who tried to understand the psychology of philosophical thinking, and the author of this article. It focuses on the psychology of philosophical thinking, and also attempts to understand Tarkovsky's involvement in existing philosophical systems, for example, existentialism. The proposed article does not yet express all the arguments on this issue, since it is, in fact, an introduction to several texts by the author about Tarkovsky, which will be published in subsequent issues of our journal.

The research study describes the assessment model and its effect of precise governance of social assistance related to management's perspective. This research study was conducted in Chinese organizations which are related to the precise governance of social assistance. This research study is based on primary data analysis for gathering the data using specific questions related to social assistance and management. In this research study, the precise governance of social assistance is considered an independent variable, and management's perspective is the dependent variable. The planning, designing, leading, the growth of the organization process, and system control are all subparts of management's perspective. To measure the data, this study used 100 plus respondent persons who know social assistance related to governance and management. To measure the data, smart PLS software, and AMOS software and run informative results included growth curve model, the smart algorithm model, the regression weighted analysis, the correlation, covariance, minimization history, and assessment of normality. The overall result found that precise governance of social assistance shows positive and significant effects in the management perspectives.

Abstract: Traditional Chinese philosophical culture refers to ancient China’s philosophical thought and cultural traditions, including different philosophical schools and systems of thought, such as Confucianism, Taoism, Mohism and Legalism. As a unique system of thought in ancient China, the traditional Chinese philosophical culture is a heritage accumulated by the Chinese nation. Han Fu culture is an important component of traditional Chinese culture, covering historical origins, morphological characteristics, materials and techniques, customs, cultural connotations and spiritual values. It can be applied and inherited in contemporary society, as well as integrated and interacted with other traditional cultural elements. As an important carrier of traditional Chinese philosophical thoughts, Han Fu culture is also a concrete manifestation of Chinese national culture and modern humanistic spirit. As a form of inheriting and displaying traditional Chinese clothing culture, the performance of Han Fu culture has received increasing attention and affection. Han Fu has played an important role in the long history, and its evolution and development have also been influenced and shaped by traditional Chinese philosophical culture. Therefore, this paper used the hermeneutic approach, dialectical materialism and historical materialism, by exploring the manifestations of traditional Chinese philosophical culture on Han Fu culture, with a view to better understand and inherit Han Fu culture. The article first introduces traditional Chinese philosophical thoughts, which mainly include Confucianism, Taoism and Buddhist thought; then, several important concepts in philosophical thoughts were elaborated. Afterwards, we will consider and analyze the philosophical ideas, contained in Han Fu culture, and point out the embodiment and application of the philosophical ideas of “unity of heaven and man” and “neutrality” in Han Fu culture. Finally, the performance value of Han Fu is elaborated from two aspects: its value expression, or form of expression, and content. Through the study, it was found that Han Fu culture can present and express its core ideas in a specific way to better demonstrate traditional Chinese philosophical thinking, which helps to better call on people to use Han Fu culture as a tool and use it to publicize their relevant ideas and concepts.

The study aimed to examine the validity and reliability of the Turkish version of the Sport Psychology Attitudes-Revised Form, developed to measure athletes’ attitudes toward seeking sport psychology consultation. A total of 228 athletes (M age =17.74 ± 3.57) consisting of 114 males and 114 females participated in the study. A personal information form, SPA-R, and the Attitudes Towards Seeking Psychological Help Scale Short Form were used as data collection tool. Confirmatory factor analysis was performed for the scale’s construct validity. Average variance extracted, maximum squared variance, average shared squared variance, composite reliability, and Pearson correlation values were calculated for convergent and discriminant validity. A t-test was used to check known-groups validity. Cronbach’s alpha, CR, and intraclass correlation values were calculated for reliability. DFA showed that the model fit index values of the TurkishSport Psychology Attitudes-Revised Form were at an acceptable level (χ2 /df = 1.80, CFI=.90, RMSEA=.058, SRMR=.07). According to the results conducted for convergent and discriminant validity, significant relationships were found between Sport Psychology Attitudes-Revised Form and an existing valid and reliable measurement tool. Average variance extracted, maximum squared variance, average shared squared variance, composite reliability, and Cronbach’s alpha coefficients were also within the acceptable limits. The analysis of known-groups validity revealed significant differences between the groups. Additionally, test–retest reliability ranged from .45 to .62. Considering all the findings, the Turkish version of Sport Psychology Attitudes-Revised Form demonstrates construct, convergent, discriminant, and known-group validities, along with reliability. Consequently, we can conclude that the Turkish version of can be used to assess athletes’ attitudes toward seeking sports psychology concultation.

This study aims to determine and analyze the effect of Individual Characteristics, Resilient and Workability on Intention to Leave and Employee Performance. This study uses quantitative methods. The population is 214 employees of PT Clariant Adsorbent Indonesia, Gresik. Sources of data in this study using primary data obtained directly from employee respondents with google form. Data analysis was carried out using the Partial Least Square (PLS) method using SmartPLS Version 3 software to validate with Convergent Validity, Average Variance Extracted (AVE), Discriminant Validity and perform reliability with Composite Reliability and Cronbach's Alpha. The research method uses an explanatory clause with a sample of 109 respondents. Collecting data using a questionnaire and analyzed using Smart PLS 3.0 to test the validity and reliability. The results showed that individual characteristics and work ability had a significant positive effect on exit intentions with path coefficients of 0.168 and 0.6979, while resilient had a positive but not significant effect with path coefficients of 0.0023. Individual characteristics and work ability have a positive but not significant effect on employee performance with path coefficients of 0.0092 and 0.0517. Intention to leave and resilient have a positive and significant effect on employee performance with path coefficient numbers 0.6019 and 0.2837. The results of this study can prove that individual characteristics, work ability and intention to leave are factors up and down the performance of employees so that a strategy is needed to improve employee performance in terms of quality, quantity, work duties and responsibilities.

Reviewed by: Germaine Dulac: A Cinema of Sensations by Tami Williams Margaret C. Flinn Tami Williams. Germaine Dulac: A Cinema of Sensations. Champaign, IL: University of Illinois Press, 2014. 336pp. Tami Williams’s Germaine Dulac is, as one would guess from its title, an auteur (or more appropriately given the case, auteure!) study. It is also, an exemplary piece of film history—and in spite of its auteur framing, a significant contribution to what one hopes is a burgeoning trend in cinema and media studies of revisionist histories dedicated to the role of women in the film industry. (Williams spends a good deal of time discussing Dulac’s work in the ciné-club movement and film industry beyond her actual directing.) Composed of prose that is clear, logical, and enjoyable to read, this book is essential reading for anyone who has an interest in early French cinema, the Interwar avant-garde, and/or the history of women filmmakers. The book is divided into three parts, each with two chapters, whose titles are fairly self-explanatory: 1. “ ‘How I Became a film Director’: Dulac’s early Life and Pre-Filmmaking Career”; 2. “The Great War and Dulac’s First Films”; 3. “Negotiating Art and Industry in the Postwar Context”; 4. “Dulac’s Aesthetic Matures”; 5. “Fiction, Newsreels, and Social Documentary”; 6. “Popular Front Activism and Vichy.” A full third of the book is dedicated to back matter, not only extensive endnotes and bibliography (including a helpfully isolated list of Dulac’s own publications), but an extremely useful chronology and detailed filmography. The book is a straightforward and fairly quick read, and therefore lends itself well as a case study for a film history methods course, for either undergraduate or graduate students, where cover-to-cover reading of an entire study is beneficial. In this auteur study dedicated to refining the reductionist reputation of an exceptional woman filmmaker and engaged feminist intellectual, a great deal of time is spent elaborating on what constitutes Dulac’s vision (as film theorist and industry leader) and her aesthetic (as a filmmaker). According to Williams, Dulac’s films all bear evidence of a productive dichotomy and [End Page 311] stylistic dualism made up of realist and symbolist tendencies, while her broader vision for film and society is consistently anchored in the belief that film has an integrated social mission and always involves artistic, pedagogical, and commercial concerns. Throughout the book, Williams uses Dulac’s correspondence to shed light on less known or discussed aspects of Dulac’s personal life, including her personal and professional partnerships with Albert Dulac, actress Stasia de Napierkowska, writer Irène Hillel-Erlanger, and filmmaker Marie-Anne Colson-Malleville. The early chapters (dealing with the period before Dulac began making films and the early years whose films are for the most part lost) lean especially heavily on such documentation, as well as on Dulac’s published articles—mostly theater criticism in the feminist press. Her Catholic upbringing/formation and her longstanding passion for music (and how the latter manifests itself both in Dulac’s filmmaking and film theoretical writings) are also detailed. Williams’s analyses of Dulac’s characters and plot structures excavate the ways in which Dulac elaborated both explicitly and implicitly feminist representations of women’s lives, even in the face of relatively socially conservative eras (such as the pronatalist post-WWI years, when women were returned to a more limited domestic sphere after maintaining the home front’s workforce during the war). The reconstructive descriptions of lost films as well as the accounts of films unavailable to the average viewer today furnish specialist and early-film buff alike with a much more complete picture of Dulac’s filmmaking than has been available to date. The book’s central chapters include the most extensive analysis of films, both individually and in thematic groupings. Besides the central paradigm of mixed realism and symbolism, which Williams shows to apply to all of Dulac’s filmmaking, she includes thematic discussions of the use of dance, gesture, sport, music, and abstraction. Here a reader’s understanding of Dulac’s two most famous and familiar films, La Souriante Madame Beaudet (1923) and La Coquille et...

Modern China is an industrialized, high-tech state. But even at the beginning of the last century it was a semi-colonial and semi-feudal society. The Chinese people made a number of attempts to save the country and revive it, and finally found the path that suited them — the path of socialism with Chinese characteristics. The guiding ideology of socialism is Marxism, and the Chinese specificity is the traditional thoughts and culture ingrained in the mentality of the nation. The characteristic of the Chinese way is the perfect combination of these two philosophical thoughts. So how do you combine this? This article uses the example of Xi Jinping’s political ethics to analyze its guiding ideology — Confucius’s concept of governing the country with kindness and Marxist ethics. The authors first analyze the specific meaning of Xi Jinping’s political ethics, and then analyze the basis of the philosophical thought of his ethics: The set of political strategies included in the Confucian idea of virtue-based government: political strategies, talent strategies, economic strategies and management strategies; as well as the main characteristics of Marx’s ethics. This proves that building socialism with Chinese characteristics benefits from the high degree of compatibility between Marxism and traditional Chinese philosophical thought. The novelty of this article also lies in the fact that it talks about traditional Chinese Confucianism and Marxist philosophy in one dimension.

The paper researches the phenomenon of uncivilized conduct as well as the tourist’s morality progress and its intrinsic dynamic mechanism, which specialises in tourist behavior in the perspective of morality. The tourist is the principal part of tour activity, so that the tourist’s morality progress is the radical resolvent to the problem of tourist’s uncivilized conduct. With vast literature studies, the paper focuses on a concept of moral self which crossed Ethnics, Psychology, Education and other disciplines. The paper introduces this concept into the field of tourism research, and analyzes the concept with measurable structures, which is referred to the research ideas of Western Psychology. At the same time, the paper also discusses the philosophical origin and the identification expansion of moral self, combined with the traditional culture of China. To identify with the moral self is not only the practice path for the tourist’s moral development, but also improve the quality of tourism experience. Similar to the footprint of tourism activities, continuous expansion of identity with the moral self has contributed to the progress of the tourist’s moral development. This thesis combines the springhead of moral self based on philosophical thinking and the moral self performance of virtue quality which emphasized in Psychology, and finds out an operable way for practice and research, on the basis of that the empirical study is carried out. After gained empirical data with interview and questionnaire investigation, the paper use Structural Equation Model and other statistical analytical methods to analyze the data. Research results show that the moral self identification has a positive role in promoting the moral development and the civilized conduct of the tourist. The paper compiles a questionnaire about the moral self identification and civilized conduct of the tourist, which provides an operable tool for the related research and the practice of tourism management in future. This thesis attempts to combine the traditional thinking of moral philosopy with modern empirical research method better in the study field of Tourism Ethnics.

The basic aim of this research study is determine the Research on mathematical teaching innovation strategy and best practices based on deep learning algorithm. This research study based on primary data analysis. The mathematical teaching innovation strategy consider as independent variable the best practices role play as mediator and the deep learning algorithm is main dependent variable. for measuring the research study used specific questions related to the indicator included open ended and closed ended questions. This research study conduct in china these data collected from teaching staff, education departments of universities and colleges, also that data collected from senior students how have knowledge about mathematical innovation strategy. For determining the result used smart PLS software and run different results included indicator correlation, discriminant validity, smart PLS Algorithm model, and total effect between dependent, independent variables and mediator variables. according to the overall research result founded that the mathematical teaching innovation strategy shows that positive relation with best practices its shows that significant relation between them. The mathematical teaching innovation strategy shows that negative but significant relation with deep learning.

The basic purpose of this research study is to determine the analysis of the critical review of social entrepreneurship and its relationship with information technology. This research study was conducted in the UK related to social entrepreneurship and information technology. This research study is based on primary data analysis for collecting the data using specific questions related to the variables. These data were collected from social entrepreneurs and businessmen, owners of the companies, and then critical reviews on these activities related to information technology. Social entrepreneurship is the main independent variable. It includes social capital, social innovation, and social networking site. These are all subpart of social entrepreneurship. Information technology is a dependent variable. This research study depends upon primary data for measuring the research study using smart P.L.S. software and running different results. The smart P.L.S. Algorithm model, the indicator correlation, R square, reliability, and discriminant validity analysis measure the critical review of social entrepreneurship and its relationship with information technology. The over result found that social entrepreneurship shows that positive and significant relationship between them. Social capital and innovation also show a significant negative relationship with information technology. The social networking site presents a positive and significant relationship with information technology.