Aplicación de la gestión de abastecimiento para mejorar el nivel de servicio en el área de compras de la empresa Drama S.R.L., Lurín, 2018

La presente investigación tuvo como objetivo principal determinar si la aplicación de la gestión de abastecimiento mejora el nivel de servicio en el área de compras de la empresa Drama S.R.L., Lurín, 2018. El estudio fue de tipo aplicada, explicativa y descriptiva; ya que, tuvo el propósito de dar solución a una realidad problemática. Asimismo, se abordó con un enfoque cuantitativo puesto que, a partir de la recolección de datos numéricos, la medición numérica y el análisis estadístico se demostró la hipótesis. La información utilizada se recopiló del software ERP Genesys manejado por el área de compras para el proceso de aprovisionamiento de materiales durante 16 semanas para el pre test y 16 semanas para el post test. Los datos fueron recopilados mediante la técnica de observación, utilizando como herramienta las fichas de recolección de datos como reportes de órdenes de compra por producto, registros de órdenes de compra diario, resumen de base de datos de los proveedores y el movimiento de Kardex semanal. Para la aplicación de la Gestión de Abastecimiento en el sistema se utilizaron la planificación de aprovisionamiento y evaluación de proveedores. Para el cálculo del Nivel de Servicio se midió la fiabilidad del servicio a través del nivel de conformidad del servicio y la capacidad de respuesta a través del nivel de cumplimiento del servicio. La estadística descriptiva e inferencial de los datos fueron procesados mediante el software Microsoft Excel y IBM SPSS 24, respectivamente. Se obtuvo como resultado un aumento porcentual del 22% del nivel de servicio respecto a la situación inicial, quedando demostrado que la aplicación de la Gestión de abastecimiento mejora significativamente el Nivel de servicio en el área de compras de la empresa Drama S.R.L

Foreceasting Produksi Padi Di Kecamatan Amanuban Selatan Kab.Tts Menggunakan Metode Least Square

Foreceasting is a method of predicting what will happen in the future. Forecasting is necessary because there is a difference in the time gap between the awareness of the need for a new policy and the timing of the implementation of the policy. Forecasting is widely used, one of which is in forecasting the level of rice production in South Amanuban District, so that the government can find out the level of rice production in South Amanuban District in the future. Rice is a very important cultivated plant for mankind.rice is the main source of food for almost half of the world's population.including Indonesia, rice is one of the staple foods of the Indonesian people, especially in the South Amanuban district. The purpose of this study is to forecast the level of rice production in South Amanuban District in 2021-2026 with the Least Square Method To calculate the error value of the forecasting used Mean Absolute Percentage Error. The data used in this study is secondary data, with data taken from 2010 to 2020, the amount of rice production in the next six years will be predicted, namely from 2021-2026.The results of the study show that forecasting using the Least Square method that the amount of Rice Production in South Amanuban District in 2021 is estimated to be 16718,7 kg or 16,7187 ton ,  in 2022 as much as 17127,1 kg or 17,1271 tons, in 2023 as many as 17535,5 kg or 17,5355 tons, in 2024 as many as 17943,9 kg or 17,9439 tons, in 2025 as many as 1835,2 kg or 18,3523 tons and in 2026 as many as 18760,7 kg or 18,7607 tons. With an error value calculation of 11%, using MAPE calculations.   Keywords – Forecasting,Production,Rice,Least Square Method  Abstrak   Peramalan (Foreceasting) merupakan suatu metode untuk memprediksi apa yang akan terjadi dimasa yang akan datang. Peramalan diperlukan karena adanya perbedaan kesenjangan waktu antara kesadaran akan dibutuhkannya suatu kebijakan baru dengan waktu pelaksanaan kebijakan tersebut. Peramalan banyak dimanfaatkan, salah satunya dalam meramalkan tingkat produksi padi di Kecamatan Amanuban Selatan, sehingga pemerintah dapat mengetahui tingkat produksi padi di Kecamatan Amanuban Selatan dimasa yang akan datang. padi merupakan tanaman budidaya yang sangat penting bagi umat manusia.padi menjadi sumber bahan pangan utama hampir dari setengah penduduk dunia.tak terkecuali Indonesia, padi merupakan salah satu makanan pokok masyarakat Indonesia khususnya di kecamatan Amanuban Selatan. Tujuan Penelitian ini untuk meramalkan tingkat produksi padi di Kecamatan Amanuban Selatan pada tahun 2021-2026 dengan Metode Least Square Untuk menghitung nilai error dari peramalan digunakan Mean Absolute Persentage Error (MAPE). Data yang digunakan pada penelitian ini adalah data sekunder, dengan data yang di ambil mulai dari tahun 2011 sampai 2020 akan diramalkan jumlah produksi padi pada enam tahun berikutnya yaitu dari tahun 2021-2026. Hasil Penelitian menunjukkan peramalan menggunakan metode Least Square bahwa Jumlah Produksi Padi di Kecamatan Amanuban Selatan pada tahun 2021 di perkirakan sebanyak 16718,7 kg atau 16,7187 ton, tahun 2022 sebanyak 17127,1 kg atau 17,1271 ton, tahun 2023 sebanyak 17535, 5 kg atau 17, 5355 ton, tahun 2024 sebanyak 17943,9 kg atau 17,9439  ton, tahun 2025 sebanyak 1835,2 Kg atau18,3523 ton dan tahun 2026 sebanyak 18760,7 Kg atau 18,7607 ton. Dengan perhitungan nilai eror sebesar 11%, menggunakan perhitungan MAPE.  Kata kunci – Peramalan,Produksi,Padi,Metode Least Squar

"Painting with faces": The casting director in American theatre, cinema, and television

In Casting By (2012), HBO’s documentary on the casting director, Martin Scorsese praises his close working relationship with his casting director. “More than 90% of directing” he asserts, “is the right casting.” Taking as its starting point that the casting director is, as Scorsese’s enthusiasm reveals, a vital but often unrecognized part of the production team, “‘Painting with Faces’: The Casting Director in American Theatre, Cinema, and Television” offers the first extended scholarly analysis of the profession. This comparative history broadens the concept of what constitutes a decision-maker in three major culture industries by arguing that casting directors, often devalued as feminized clerical labor, exercise more control over the creative and economic aspects of production than we usually acknowledge. Chapter one, “The Pre-Professional Casting Director,” offers a pre-history of the theatrical casting processes to explain how and why the professions of casting director and talent scout emerged in the twentieth century. Examining how casting operated throughout different epochs and in diverse production practices (particularly the medieval cycle plays, the English early modern theatres, and the American stock companies), I contend that those who took on the functions of proto-casting director were, contrary to today’s perception of the casting director as “below-the-line” labor, usually the production’s most important creative personnel. Turning to the twentieth century, chapter two, “The Company Casting Director,” argues that in-house casting employees working during the golden age of Broadway, classical Hollywood, and early television eras exerted more creative influence within their respective companies than industrial scholarship allows. Seen as what one film historian calls “low-level decision-makers,” casting directors rarely figure in industry studies because these analyses typically focus on directors or producers. Archival documents such as memoirs, memos, and casting idea lists indicate, however, that casting personnel were not simply clerical workers, but, rather, by contributing to hiring decisions, among those who helped shape their respective companies’ aesthetic vision. My project’s third chapter, “The Independent Casting Director,” brings women into the historical record by explaining the rise of the female casting director and the concomitant gendering of the profession. The chapter’s first half argues that examining the major entertainment industries concurrently reveals that media scholars have profoundly misunderstood the rise of female labor in entertainment occupations such as casting. By focusing on Los Angeles and the classical Hollywood studio system, critics ignored the more permeable divisions of labor that existed in New York-based theatre and early television. The looser organizational structure of these two industries allowed women to pursue entertainment careers and produce culture on the east coast in ways they could not on the west. Also concentrating on gender, the latter half of this chapter contends that the disproportionate number of women who entered casting in the 1960s-70s led scholars, journalists, and industry professionals to devalue the profession by associating it with stereotypically feminine traits. Arlie Russell Hochschild’s theories of “emotional labor” and Vicki Mayer’s media scholarship on “nurturing,” accommodating feminized workers apply to common observations about casting directors. Whether or not casting is a service profession, certainly casting directors (male and female) perceive it as such and often use feminized language to describe what they do. Yet casting requires skills typically seen as masculine, which many industry studies theorists argue the role of decision-maker demands. For example, with production funding increasingly scarce in today’s weak economic climate, casting directors often serve as de facto producers by attaching talent to theatre and film projects to secure the necessary financing. The funding for the Oscar-winning Crash (Haggis, 2004) was cast-contingent, and that movie’s casting directors, Sarah Halley Finn and Randi Hiller, received credit for getting the film made. Chapter four, “The Digital-Age Casting Director,” explores the digital revolution’s impact on today’s casting practices. As I trace casting offices’ increased use of digital media to locate and audition actors, I argue that digital devices give casting directors more control over the decision-making process. Digital cameras and video-sharing websites, for example, allow casting directors to edit most auditions and regulate the content upon which many hiring decisions are now based. My work on casting culminates by examining the digital era’s implications for casting’s future. I contend that even those digital special effects such as vactors that could potentially limit the casting director’s creative input are unlikely to do so as most CG-manipulated characters are still modeled on live performers.U of I OnlyU of I Only Extension request made by author via Graduate Colleg

"Painting with faces": The casting director in American theatre, cinema, and television

In Casting By (2012), HBO’s documentary on the casting director, Martin Scorsese praises his close working relationship with his casting director. “More than 90% of directing” he asserts, “is the right casting.” Taking as its starting point that the casting director is, as Scorsese’s enthusiasm reveals, a vital but often unrecognized part of the production team, “‘Painting with Faces’: The Casting Director in American Theatre, Cinema, and Television” offers the first extended scholarly analysis of the profession. This comparative history broadens the concept of what constitutes a decision-maker in three major culture industries by arguing that casting directors, often devalued as feminized clerical labor, exercise more control over the creative and economic aspects of production than we usually acknowledge. Chapter one, “The Pre-Professional Casting Director,” offers a pre-history of the theatrical casting processes to explain how and why the professions of casting director and talent scout emerged in the twentieth century. Examining how casting operated throughout different epochs and in diverse production practices (particularly the medieval cycle plays, the English early modern theatres, and the American stock companies), I contend that those who took on the functions of proto-casting director were, contrary to today’s perception of the casting director as “below-the-line” labor, usually the production’s most important creative personnel. Turning to the twentieth century, chapter two, “The Company Casting Director,” argues that in-house casting employees working during the golden age of Broadway, classical Hollywood, and early television eras exerted more creative influence within their respective companies than industrial scholarship allows. Seen as what one film historian calls “low-level decision-makers,” casting directors rarely figure in industry studies because these analyses typically focus on directors or producers. Archival documents such as memoirs, memos, and casting idea lists indicate, however, that casting personnel were not simply clerical workers, but, rather, by contributing to hiring decisions, among those who helped shape their respective companies’ aesthetic vision. My project’s third chapter, “The Independent Casting Director,” brings women into the historical record by explaining the rise of the female casting director and the concomitant gendering of the profession. The chapter’s first half argues that examining the major entertainment industries concurrently reveals that media scholars have profoundly misunderstood the rise of female labor in entertainment occupations such as casting. By focusing on Los Angeles and the classical Hollywood studio system, critics ignored the more permeable divisions of labor that existed in New York-based theatre and early television. The looser organizational structure of these two industries allowed women to pursue entertainment careers and produce culture on the east coast in ways they could not on the west. Also concentrating on gender, the latter half of this chapter contends that the disproportionate number of women who entered casting in the 1960s-70s led scholars, journalists, and industry professionals to devalue the profession by associating it with stereotypically feminine traits. Arlie Russell Hochschild’s theories of “emotional labor” and Vicki Mayer’s media scholarship on “nurturing,” accommodating feminized workers apply to common observations about casting directors. Whether or not casting is a service profession, certainly casting directors (male and female) perceive it as such and often use feminized language to describe what they do. Yet casting requires skills typically seen as masculine, which many industry studies theorists argue the role of decision-maker demands. For example, with production funding increasingly scarce in today’s weak economic climate, casting directors often serve as de facto producers by attaching talent to theatre and film projects to secure the necessary financing. The funding for the Oscar-winning Crash (Haggis, 2004) was cast-contingent, and that movie’s casting directors, Sarah Halley Finn and Randi Hiller, received credit for getting the film made. Chapter four, “The Digital-Age Casting Director,” explores the digital revolution’s impact on today’s casting practices. As I trace casting offices’ increased use of digital media to locate and audition actors, I argue that digital devices give casting directors more control over the decision-making process. Digital cameras and video-sharing websites, for example, allow casting directors to edit most auditions and regulate the content upon which many hiring decisions are now based. My work on casting culminates by examining the digital era’s implications for casting’s future. I contend that even those digital special effects such as vactors that could potentially limit the casting director’s creative input are unlikely to do so as most CG-manipulated characters are still modeled on live performers.U of I OnlyExtended embarg

Aplicación de la gestión de abastecimiento para mejorar el nivel de servicio en el área de compras de la empresa Drama S.R.L., Lurín, 2018

La presente investigación tuvo como objetivo principal determinar si la aplicación de la gestión de abastecimiento mejora el nivel de servicio en el área de compras de la empresa Drama S.R.L., Lurín, 2018. El estudio fue de tipo aplicada, explicativa y descriptiva; ya que, tuvo el propósito de dar solución a una realidad problemática. Asimismo, se abordó con un enfoque cuantitativo puesto que, a partir de la recolección de datos numéricos, la medición numérica y el análisis estadístico se demostró la hipótesis. La información utilizada se recopiló del software ERP Genesys manejado por el área de compras para el proceso de aprovisionamiento de materiales durante 16 semanas para el pre test y 16 semanas para el post test. Los datos fueron recopilados mediante la técnica de observación, utilizando como herramienta las fichas de recolección de datos como reportes de órdenes de compra por producto, registros de órdenes de compra diario, resumen de base de datos de los proveedores y el movimiento de Kardex semanal. Para la aplicación de la Gestión de Abastecimiento en el sistema se utilizaron la planificación de aprovisionamiento y evaluación de proveedores. Para el cálculo del Nivel de Servicio se midió la fiabilidad del servicio a través del nivel de conformidad del servicio y la capacidad de respuesta a través del nivel de cumplimiento del servicio. La estadística descriptiva e inferencial de los datos fueron procesados mediante el software Microsoft Excel y IBM SPSS 24, respectivamente. Se obtuvo como resultado un aumento porcentual del 22% del nivel de servicio respecto a la situación inicial, quedando demostrado que la aplicación de la Gestión de abastecimiento mejora significativamente el Nivel de servicio en el área de compras de la empresa Drama S.R.L