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TV Channel Distribution in Europe: Table of Contents
TV Channel Distribution in Europe: Table of Contents This report covers 238 international channels/networks across 152 major operators in 34 EMEA countries. From the total, 67 channels (28%) transmit in high definition (HD). The report shows the reader which international channels are carried by which operator – and which tier or package the channel appears on. The report allows for easy comparison between operators, revealing the gaps and showing the different tiers on different operators that a channel appears on. Published in September 2012, this 168-page electronically-delivered report comes in two parts: A 128-page PDF giving an executive summary, comparison tables and country-by-country detail. A 40-page excel workbook allowing you to manipulate the data between countries and by channel. Countries and operators covered: Country Operator Albania Digitalb DTT; Digitalb Satellite; Tring TV DTT; Tring TV Satellite Austria A1/Telekom Austria; Austriasat; Liwest; Salzburg; UPC; Sky Belgium Belgacom; Numericable; Telenet; VOO; Telesat; TV Vlaanderen Bulgaria Blizoo; Bulsatcom; Satellite BG; Vivacom Croatia Bnet Cable; Bnet Satellite Total TV; Digi TV; Max TV/T-HT Czech Rep CS Link; Digi TV; freeSAT (formerly UPC Direct); O2; Skylink; UPC Cable Denmark Boxer; Canal Digital; Stofa; TDC; Viasat; You See Estonia Elion nutitv; Starman; ZUUMtv; Viasat Finland Canal Digital; DNA Welho; Elisa; Plus TV; Sonera; Viasat Satellite France Bouygues Telecom; CanalSat; Numericable; Orange DSL & fiber; SFR; TNT Sat Germany Deutsche Telekom; HD+; Kabel -
Rp. 149.000,- Rp
Indovision Basic Packages SUPER GALAXY GALAXY VENUS MARS Rp. 249.000,- Rp. 179.000,- Rp. 149.000,- Rp. 149.000,- Animax Animax Animax Animax AXN AXN AXN AXN BeTV BeTV BeTV BeTV Channel 8i Channel 8i Channel 8i Channel 8i E! Entertainment E! Entertainment E! Entertainment E! Entertainment FOX FOX FOX FOX FOXCrime FOXCrime FOXCrime FOXCrime FX FX FX FX Kix Kix Kix Kix MNC Comedy MNC Comedy MNC Comedy MNC Comedy MNC Entertainment MNC Entertainment MNC Entertainment MNC Entertainment One Channel One Channel One Channel One Channel Sony Entertainment Television Sony Entertainment Television Sony Entertainment Television Sony Entertainment Television STAR World STAR World STAR World STAR World Syfy Universal Syfy Universal Syfy Universal Syfy Universal Thrill Thrill Thrill Thrill Universal Channel Universal Channel Universal Channel Universal Channel WarnerTV WarnerTV WarnerTV WarnerTV Al Jazeera English Al Jazeera English Al Jazeera English Al Jazeera English BBC World News BBC World News BBC World News BBC World News Bloomberg Bloomberg Bloomberg Bloomberg Channel NewsAsia Channel NewsAsia Channel NewsAsia Channel NewsAsia CNBC Asia CNBC Asia CNBC Asia CNBC Asia CNN International CNN International CNN International CNN International Euronews Euronews Euronews Euronews Fox News Fox News Fox News Fox News MNC Business MNC Business MNC Business MNC Business MNC News MNC News MNC News MNC News Russia Today Russia Today Russia Today Russia Today Sky News Sky News Sky News Sky News BabyTV BabyTV BabyTV BabyTV Boomerang Boomerang Boomerang Boomerang -
The Children's Television Act and Program-Length Commercials
The Children’s Television Act and Program-Length Commercials: Current Interpretations and Implications for the Future by KARI METROKA-KIRKHAM Bachelor of Science, 1985 Texas Christian University Submitted to the Faculty Graduate Division College of Communications In partial fulfillment of the Requirements for the degree of MASTER OF SCIENCE May, 2008 Acknowledgements There are so many people I have to thank that helped me through graduate school and this thesis – I know the orchestra will start to play while I am thanking them all. Although I will try to make this brief, the depth of my gratitude to you all has no limit. To all my friends, family and co-graduate students for your constant encouragement and understanding, I say thank you. You have been so patient, especially listening to me endlessly go on about my topic. My thanks also go out to Dr. Matt McCallister from Penn State who helped me clarify my thinking about this entire subject. Also, I want to thank Dr. Dale Kunkel and Newton Minow who took the time to respond to my emails as I was trying to research this project. I cannot tell you what it means to me to hear from all of you about this subject. My appreciation goes to all of the faculty and staff at TCU who have helped me through this process. I could not have done any of this without your help. A special thanks to Dr. Tommy Thomason and Dr. Julie O’Neil. Tommy – I would not be in graduate school at all if it had not been for you. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Rapport Financier Annuel
ANIMATION 2014 Rapport Financier Annuel Xilam Animation - Société anonyme au capital de 446 500 € Siège social : 86/90, rue Notre-Dame de Nazareth 75003 PARIS RCS Paris 423 784 610 Sommaire Responsable de l’information .......................................................................................................................................... 3 Rapport de gestion ............................................................................................................................................................ 5 Responsabilité sociétale des entreprises ....................................................................................................................... 31 Gouvernement d’entreprise ........................................................................................................................................... 45 Comptes consolidés ......................................................................................................................................................... 68 Comptes sociaux ........................................................................................................................................................... 113 Le sommaire détaillé des chapitres figure au début de chaque chapitre. Xilam Animation – Rapport financier annuel 2014 2 Responsable de l’information Xilam Animation – Rapport financier annuel 2014 3 Responsable de l’information Responsable du document Monsieur Marc du Pontavice, Président du Conseil d’Administration de Xilam Animation -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
Annexe 2 – Le Marché De L'animation En 2018
les études du CNC Le marché juin 2019 de l’animation en 2018 Cette étude a été réalisée conjointement par la Direction de l’audiovisuel et de la création numérique et la Direction des études, des statistiques et de la prospective. Les données sur l’emploi sont reprises de l’étude publiée par Audiens sur la production de films d’animation et d’effets visuels. Centre national du cinéma et de l’image animée 12, rue de Lübeck 75784 Paris cedex 16 Tél : 01.44.34.38.26 Fax : 01.44.34.34.55 www.cnc.fr Nicolas Besson, Sophie Cheynet, Benoît Danard, Sylvain Dandine, Sophie Jardillier, Laurence Peyré, Ivan Piccon, Cindy Pierron, Danielle Sartori, Jérôme Tyl, Linda Zidane. 2 Le marché de l’animation en 2018 Sommaire Synthèse .............................................................................................................................. 5 1. Cinéma ............................................................................................................................. 8 1.1. La production française de longs métrages d’animation ............................................. 9 1.2. La distribution............................................................................................................17 1.3. Les résultats des films d’animation en salles .............................................................25 1.4. Le public des films d’animation en salles ...................................................................30 2. Audiovisuel ....................................................................................................................34 -
Studio Movie Grill Further Expands Its Movies + Meals Program with Dreamworks Animation’S How to Train Your Dragon: the Hidden World
FOR IMMEDIATE RELEASE Studio Movie Grill Further Expands its Movies + Meals Program with DreamWorks Animation’s How To Train Your Dragon: The Hidden World SMG AccessTM the first and only loyalty program of its kind in movie exhibition launched in June 2018 committed to impacting one million lives through the power of film and sharing a meal. Dallas, TX – February 14, 2019: Studio Movie Grill announced that Universal Pictures has generously offered multiple screenings of DreamWorks Animation’s highly anticipated How To Train Your Dragon: The Hidden World (in theatres 2/22/19) to SMG’s non-profit partners serving children with special needs, including: • Bakersfied, CA - Exceptional Family Center/Centro de Familias Excepcionales • Duluth, GA - Spectrum • Seminole, FL - PARCs Discovery Learning Center • NW Hwy, TX - Bryan's House • Spring Valley, TX - H.E.R.O.E.S. DFW • Tyler, TX - Tyler Run for Autism • Marietta, GA – Variety, the Children’s Charity of Georgia • Chatham, IL – Variety, the Children’s Charity of Illinois • College Park, IN - Riley Children's Foundation • Pearland, TX - BACH Rehabilitation Center These screenings are offered in support of SMG AccessTM and the Movies + Meals outreach program. In keeping with its mission to open hearts and minds, one story at a time, SMG AccessTM launched nationwide in July 2018 and is the only theater-loyalty program focused on positively impacting underserved local community members. Through their purchases, alongside rewards, loyal SMG guests are able to assist SMG outreach in offering movies and meals to local non-profits and underresourced community members with the hope of harnessing the power of movies to inspire and change lives. -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
„JETIX“ Aktenzeichen: KEK 503 Beschluss in Der Rundfu
Zulassungsantrag der Jetix Europe GmbH für das Fernsehspartenprogramm „JETIX“ Aktenzeichen: KEK 503 Beschluss In der Rundfunkangelegenheit der Jetix Europe GmbH, vertreten durch die Geschäftsführer Jürgen Hinz, Stefan Kas- tenmüller, Dene Stratton und Paul D. Taylor, Infanteriestraße 19/6, 80797 München, – Antragstellerin – w e g e n Zulassung zur bundesweiten Veranstaltung des Fernsehspartenprogramms „JETIX“ hat die Kommission zur Ermittlung der Konzentration im Medienbereich (KEK) auf Vorlagen der Bayerischen Landeszentrale für neue Medien (BLM) vom 02.06.2008 in der Sitzung am 19.08.2008 unter Mitwirkung ihrer Mitglieder Prof. Dr. Sjurts (Vorsitzende), Prof. Dr. Huber, Dr. Lübbert und Prof. Dr. Mailänder entschieden: Der von der Jetix Europe GmbH mit Schreiben vom 21.05.2008 bei der Bayeri- schen Landeszentrale für neue Medien (BLM) beantragten Zulassung zur Veran- staltung des bundesweit verbreiteten Fernsehspartenprogramms JETIX stehen Gründe der Sicherung der Meinungsvielfalt im Fernsehen nicht entgegen. 2 Begründung I Sachverhalt 1 Zulassungsantrag Die Antragstellerin hat mit Schreiben vom 21.05.2008 bei der BLM die Verlänge- rung der zum 30.09.2008 auslaufenden Zulassung für das Fernsehspartenpro- gramm JETIX um weitere acht Jahre beantragt. Die BLM hat der KEK den Antrag mit Schreiben vom 02.06.2008 zur medienkonzentrationsrechtlichen Prüfung vorge- legt. 2 Programmstruktur und -verbreitung 2.1 JETIX ist ein deutschsprachiges, digitales Spartenprogramm für Kinder mit dem Schwerpunkt auf Unterhaltung. Gesendet werden täglich von 06:00 bis 19:45 Uhr Action-, Humor- und Abenteuerformate. Die Zielgruppe sind Kinder im Alter zwi- schen 6 und 14 Jahren. 2.2 JETIX wird als Pay-TV-Angebot verschlüsselt und digital über die Programmplatt- form der Premiere Fernsehen GmbH & Co. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
Claire Espagno
Claire Espagno Scénariste [email protected] Directrice d’écriture Linked In : claire-espagno Productrice ÉCRITURE_____________________________________________________________________ 2020 Scénariste, Watch Next Media – Paris "Oscar & Malika" (Saison 2) Série d’animation 2D – 2 épisodes "Le refuge d’Audrey" Série d'animation 2D (52 x 13 mn) (en développement) 2019 - 2020 Scénariste, Reaz – Paris "Patamuse" (Saison 2) Série d’animation volume et 2D (30 x 3 mn) – 30 épisodes 2019 Directrice d'écriture & scénariste, Mondo TV – Paris "Disco Dragon" Série d'animation 2D (52 x 13 mn) – 4 épisodes 2018 Auteur du développement, Gaumont Animation – Paris "La famille royale" Série d'animation (52 x 13 mn) Auteur du développement, Mondo TV – Paris "Suzon" Série d'animation 2D (78 x 7 mn) Auteur du développement, Songes – Toulouse "Quand je serai grande" Série d’animation (52 x 13 mn) Auteur du développement, Futurikon – Paris "La série qui t’explique tout sur les parents" Série d'animation 2D (78 x 7 mn) 2017 Directrice d'écriture & scénariste, Futurikon – Paris "César & Capucine" (saison 2) Série d'animation 2D (52 x 7 mn) – 5 épisodes Scénariste, Superprod – Paris "Lassie" (Saison 2) Série d’animation 2D (26 x 22 mn) – 2 épisodes (co-écriture) 2015 - 2016 Directrice d'écriture & scénariste, Superprod – Paris "La petite école d’Hélène" Série d'animation 3D (52 x 13 mn) – 5 épisodes 2015 Directrice d'écriture & scénariste, Futurikon – Paris "Les p'tits diables" (saison 3) Série d'animation 2D (52 x 13 mn) – 4 épisodes 2014 - 2015