Suchergebnisse

In recent years, three key topics under the big umbrella of business process improvement (BPI) have been continuous process improvement (CPI), business process reengineering (BPR), and business process benchmarking (BPB). Each has received much attention and has been supported by a considerable amount of literature and empirical research and findings from business consultants and academics. Within the manufacturing domain, these three topics have been accepted by many manufacturing process analysts striving to improve productivity and efficiency of companies. However, organization structures in manufacturing enterprises are complex and involve many different processes. Their needs may be quite different. One process may require an incremental improvement in critical areas or technology updating in its existing operation while others may need a total enterprise‐wide process revamp. In other words, CPI, BPR, and BPB's usefulness and applicability may not be universal; one or a combination of the two or three may be more appropriate, depending on the process, organization and its environment. An improvement framework which incorporates the characteristics of the three approaches has been developed. This paper describes the methodology, SUPER, and its use in a real case study.

The Umbrella Movement, which took place in Hong Kong between 26 September and 15 December 2014, was indisputably a defining moment in the former colony. The authors argue that the Umbrella Movement was not a single, contingent political incident. Rather it represented a structural change in Hongkongers' perceived relations with the Chinese government, which was deeply connected with the change of specific cultural, economic and political factors pertinent to Hong Kong society in the past three decades. In conclusion, the authors suggest that Hongkongers' cultural perception of the closing-in of the central government's power is a key determinant of the perception of Hong Kong–China relations. (China/GIGA)

Purpose
Since the launch of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2003, Hong Kong cinema is believed to have confronted drastic changes. Hong Kong cinema is described to be dying, lacking creative space and losing local distinctiveness. A decade later, the rise of Hong Kong – China coproduction cinema under CEPA has been normalized and changed the once pessimism in the industry. The purpose of this paper is to demonstrate how Hong Kong cinema adjusted its production and creation in the first 10 years of CEPA.

Design/methodology/approach
Beginning with a review of the overall development, three paradigmatic cases are examined for reflecting upon what the major industrial and commercial concerns on the Hong Kong – China coproduction model are, and how such a coproduction model is not developed as smooth as what the Hong Kong filmmakers expected.

Findings
Collectively, this paper singles out the difficulties in operation and the limit of transnationality that occur in the Chinese context for the development of Hong Kong cinema under the Hong Kong – China coproduction model.

Originality/value
This is the author's research in his five-year study of Hong Kong cinema and it contributes a lot to the field of cinema studies with relevant industrial and policy concern.

It was discovered through a questionnaire and interview survey of 570 students, 37 teachers, and 82 parents in six primary and secondary schools in Hong Kong, China, that: (1) each school has the right to choose teaching materials, and the legacy of former colonial education in related to teaching materials and teachers is serious; 90% of schools are public and government-funded schools that adopt traditional Chinese in teaching materials and Cantonese as a medium of instruction; other 10% of schools are private schools use English teaching materials and English as a medium of instruction; (2) There are few introductions to Chinese culture and the Chinese Mainland in broad language textbooks; students' everyday language is predominantly Cantonese. All schools offer one class hour of Chinese Putonghua every week, and students with fewer Putonghua class hours have a lower level. (3) While 63% and 74% of students and parents agreed to include Chinese culture and socialist fundamental principles in the instructional materials, only 30% of teachers agreed. (4) Nearly half of Hong Kong students and nearly half of their parents aspire to go to the Mainland for study or jobs. (5) Television and electronic media are the primary sources of information for teachers, students, and parents regarding the growth of the motherland's Mainland. Due to the high stress of daily life, few people have visited the Mainland, and 90% of them are looking forward to the opportunity to visit the Mainland for free. Article visualizations: