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- All Subjects: Technology
- All Subjects: Film
- Creators: Department of Marketing
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Member of: Theses and Dissertations
A large section of United States citizens live far away from supermarkets and do not have<br/>an easy way to get to one. This portion of the population lives in an area called a food desert.<br/>Food deserts are geographic areas in which access to affordable, healthy food, such as fresh<br/>produce, is limited or completely nonexistent due to the absence of convenient grocery stores.<br/>Individuals living in food deserts are left to rely on convenience store snacks and fast food for<br/>their meals because they do not have access to a grocery store with fresh produce in their area.<br/>Unhealthy foods also lead to health issues, as people living in food deserts are typically at a<br/>higher risk of diet-related conditions, such as obesity, diabetes, and cardiovascular disease.<br/>Harvest, a sustainable farming network, is a smartphone application that teaches and guides<br/>people living in small spaces through the process of growing fresh, nutritious produce in their<br/>own homes. The app will guide users through the entire process of gardening, from seed to<br/>harvest. Harvest would give individuals living in food deserts an opportunity to access fresh<br/>produce that they currently can’t access. An overwhelming response based on our user<br/>discussion and market analysis revealed that our platform was in demand. Development of a<br/>target market, brand guide, and full lifecycle were beneficial during the second semester as<br/>Harvest moved forward. Through the development of a website, social media platform, and<br/>smartphone application, Harvest grew traction for our platform. Our social media accounts saw a<br/>1700% growth rate, and this wider audience was able to provide helpful feedback.
The research begins with the history of standards, starting with traditional outcome-based standards. It then delves into the Partnership for 21st Century Skills (P21), which highlights the type of skills 21st century students are expected to develop and master by the time they enter college and careers. Next, it explores the hot topic of Education to this date: Common Core State Standards. In the midst of educational reform, these standards seek to add consistency across the nation in regards to what students should know at each grade level and also encourage teaching of the 21st century skills. This section briefly details the content of Common Core English Language Arts and Mathematics standards.
After summarizing P21 and Common Core, this report shifts into its focused 21st century skill: collaboration. As one of the 4 C’s that P21 and Common Core emphasize in their standards, it is imperative to research critical elements of collaboration as they relate to groups and teams of all ages. Even more specifically, collaboration is a practice that is becoming more and more standard in business across all industries, so it is a skill that is highly in demand for students to acquire. In regards to collaboration, Executive Vice President of Verizon, Bob Mudge, states, “companies are able to innovate much more quickly and even create solutions to problems that may not be prevalent issues yet” (Mudge 1). The standards expect that students will be prepared to collaborate in college and careers, so key elements of collaboration in those settings—in-person or virtual—need apply or be simplified to K-6 collaborative environments. This section also analyzes a case study experiment on young children about how technology functionality and design enables, encourages, or enforces collaboration.
Next, this thesis reviews three case studies that represent evolution in our understanding of technology’s role as a support system in teaching and learning collaboration. The first case study shows how simple handheld devices assisted in correcting weaknesses in a variety of collaborative and organizational skills. The second study utilizes interactive tabletop technology to realize the idea of tracking collaborative ability in real time through synchronized audio and touch recording. Finally, researchers assess the effectiveness of one student to one device (1:1) initiatives by gathering student-reported data before and after the program’s implementation, which largely speak to the direction of many schools’ technology strategies.
To supplement all of the secondary research above, the researcher of this thesis conducted interviews with nine K-6 teachers to gather their insights on collaboration and how they facilitate it. They explain how they use technology in their classroom to enhance the learning environment. Additionally, they give opinions on what could be done to make collaboration more easily taught and facilitated, as well as what would better develop their students’ collaborative skills.
The compilation of this information then leads to implications of what needs to be present, from a technology standpoint, to more effectively teach collaborative skills to our schoolchildren. This includes a brief industry analysis of a program that already exists, as well as recommendations for new technology that considers the research conducted throughout the paper. Another implication addressed centers on the instruction and facilitation of technology and the digital divide that can result from varying competency among teachers, which brings to light the need for proper technology development programs for educators.
Esports is the fastest growing sub sector within the entertainment industry, predicted to garner over 600 million viewers by 2022. However, there is a big category of esports - mobile esports - that are not yet recognized globally. This thesis project analyzes how mobile esports has risen in the Eastern countries of the world, primarily Southeast Asia, and compares it to the possibility of replication in the Western countries of the world, primarily the United States and Brazil. It examines the specific factors that caused mobile gaming and thus mobile esports to flourish in the East Region of the world. The thesis additionally incorporates current attitudes towards esports and mobile esports in the United States and discusses the viewpoints of consumers in those specific areas. This research uses primary data and literature synthesis to ultimately increase knowledge on how mobile esports has risen in popularity in various Asian countries and whether or not mobile esports can thrive in a different environment such as the United States.<br/><br/>This thesis takes data from the “Newzoo Global Esports Market Report” conducted in 2020 by Newzoo. This report does the following:<br/>- dives deep into the global and regional esports economy<br/>- provides a realistic estimate of the market’s future potential regarding revenue streams, audience numbers, key trends, and franchises<br/>- highlights financial and statistical trends for the esports industry in the future<br/><br/>Overall the thesis finds that mobile esports have succeeded in the Asian market due to an established demographic of esports fans and players, mobile first consumers, and wide technology network in Asia. Data analysis finds that currently many American gamers still find mobile gaming to be “boring” and ultimately that cultural attitude, generational shifts, and the ideal game need to align for mobile esports to succeed in the United States.
The challenges our team faced were mainly due to COVID-19 and the social distancing guidelines provided by the CDC. Because of this, we were not able to conduct as many interviews as we planned. We also hoped to prepare a training course for seniors, but our plans were disrupted, so we shifted to a more research-based study.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.