Did China follow the East Asian development model?

Andrea Boltho ; Maria Weber

Keywords:
China, Growth, East Asia, Economic Policy
Abstract:
China is located in East Asia and, just as Japan, Taiwan or (South) Korea at earlier stages of their development, has now grown very rapidly for some three decades. That is not enough, however, for it to qualify for membership of the club. The East Asian development model has a number of additional and important characteristics. Four are selected for discussion: the almost constant encouragement given to investment, the manufacturing sector and external competitiveness, and pursued via a variety of fairly interventionist industrial, trade and financial policies; a concomitant belief in the virtues of intense domestic (Japan and Taiwan) and foreign (Korea) competition; a set of broadly sensible and appropriate macroeconomic policies; and a number of favourable (pre-)conditions, such as the presence of a homogeneous population, a relatively high stock of human capital, reasonable income equality and fairly authoritarian governments.China, since reforms began in the late 1970s, has shared some of these characteristics, but not all. In particular, it is still much more of a command economy than the other three countries have ever been, yet, at the same time, has embraced globalization with, arguably, much greater enthusiasm than was done, in earlier times, by Japan, Taiwan or Korea. If China's experience, however, is compared with that of other, more or less successful, developing countries, the similarities with the East Asia development model would seem to dwarf such differences

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ANALYSIS OF FILMMAKING TECHNIQUES FOR ARCHITECTURAL ANIMATIONS

Rodrigo Garcia ALVARADO

Digital animation provides a new possibility to exhibit architectural projects, but it must address some features to properly show the building design. This paper (1) exposes a review of diverse moving images presentation of architectural environments in order to identify principles to be considered when display building projects through digital animation. It studied scenes of twenty productions; eight famous
movies from different ages, like examples of major filmmaking efforts; six
documentaries of historical buildings, as specific productions targeted to
display architectural environments; and six digital animations remarked
or prized in recent contests, like examples of new technologies in the
professional realm.The paper describes in particular the scenes of two
movies (“Metropolis” and “Bladerunner”), one documentary (on “Basilica
of San Marco”, Venice) and one digital animation (“Urban Prototype”).
The review was based on three scales of cinematographic representation:
the composition of image, the takes or sequence of images, and the general
montage of scene. Making a record of takes during the sequence, extracting
some frames, getting the point-of-views and drawing the environment
or building filmed. It analysed graphic properties of images, cameras’
location and movements, duration of takes, sounds, transitions, order
and meanings developed according overall production and cultural
situation. The main characteristic revealed was visual fragmentation of the
display of architectural environments, expressed in the graphic diversity
right through different takes to the scattering of camera views in the
environment filmed.

Keywords: architectural animation;filmmaking; CAAD.

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