Suchergebnisse

What are the best tools for designing governmental policy in light of human well-being? The Handbook provides a comprehensive treatment of this topic, drawing on economics, philosophy, and psychology. It covers both traditional and emerging methodologies, including GDP, cost-benefit and cost-effectiveness analysis, inequality and poverty metrics, social welfare functions, multidimensional indicators based on "capabilities" and happiness-based approaches.

Keeping in view the role of the police in a modern society, the respect for the rule of law and the trust of the community as a critical resource, more and more police organizations around the world have embraced Community Policing with the objective of making the police sensitive to the needs of the community. However, in the absence of an institutional and legal framework and a resultant lack of understanding of the dynamics of policy processes, many such initiatives failed to stand the tes...

La intervención pública en la cinematografía ha sido siempre muy intensa en todos los países porque el cine es un potente medio de expresión artística y de opinión; porque, ha sido tradicionalmente una actividad empresarial con unas características específicas; y porque su proceso de producción es costoso. En España, la industria cinematográfica, sobre todo la producción independiente, es muy dependiente de las ayudas públicas (sean estas subvenciones directas, incentivos fiscales o facilidades para el acceso al crédito). Desde el año 2008, y debido a la crisis financiera, el cine que se ha podido producir en España ha estado condicionado por las políticas públicas que se han aplicado para la cinematografía y el audiovisual.El objetivo de este paper es mostrar el marco creado por estas políticas y, en consecuencia, qué producción cinematográfica en términos cuantitativos y cualitativos se ha realizado y cómo ha sido recibida por el público. Se podrá comprobar que la crisis financiera ha permitido al gobierno justificar un gran recorte del gasto público en cultura y, por supuesto, en cinematografía, sobre todo desde el año 2012. El sector cinematográfico ha reaccionado a la situación de modos diversos: los costes medios de producción de los largometrajes han caído drásticamente, el tiempo necesario para sacar adelante un proyecto independiente ha aumentado y la dependencia del cine respecto de los grupos televisivos se ha incrementado. ; Public intervention in the film sector is generally strong all around the world, since film is seen as a powerful medium for artistic creation, as well as an opinion shaper. Other reasons may be that film is a business sector with specific characteristics and production is usually cost intensive. The Spanish film industry, and independent film production in particular, depends on public aid, whether direct aid, fiscal incentives, or easy access to bank credit. Ever since the 2008 financial crisis, public policies on the cinema and television industries have influenced the possibility of films being produced in Spain. The aim of this paper is to present the general framework that these policies have fostered. Consequently, it will examine quantitatively and qualitatively what films have been produced, and how they have been received by audiences. The paper shows that the financial crisis has allowed the Spanish government to justify huge cutbacks in public spending for cultural products, films above all, especially since 2012. The reaction of the film industry has been diverse: average feature film production costs have decreased drastically; production times have increased for independent film ; info:eu-repo/semantics/draft