Narendra Modi Announces 20 Lakh Crore Economic Stimulus Package
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INFLUENCE Music Marketing Meets Social Influencers COVERFEATURE
06-07 Tools Kombie 08-09 Campaigns YACHT, Radiohead, James Blake 10-14 Behind The Campaign Aurora MAY 18 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 157 UNDER THE INFLUENCE music marketing meets social influencers COVERFEATURE In the old days, there were a handful of gatekeepers – press, TV and radio – and getting music in front of them was hard, UNDER THE INFLUENCE but not impossible. Today, traditional media still holds significant power, but the number of influencers out there has shot up exponentially with the explosion of social media in general and YouTube in particular. While the world’s largest video service might be under fire over its (low) royalty rates, the music industry is well aware that its biggest stars offer a direct route to the exact audiences they want their music to reach. We look at who these influencers are, how they can be worked with and the things that will make them back or blank you. etting your act heard used to be, if not exactly easy, then at least relatively Gstraightforward for the music business: you’d schmooze the radio playlist heads, take journalists out to a gig and pray for some TV coverage, all while splashing out on magazine and billboard advertising. The digital era – and especially social media – have shaken this all up. Yes, traditional media is still important; but to this you can add a sometimes bewildering list of “social influencers”, famous faces on platforms like YouTube, Snapchat and Instagram, plus vloggers, Viners and the music marketing meets rest, all of whom (for now) wield an uncanny power over youthful audiences. -
Letter Correspondences of Rabindranath Tagore: a Study
Annals of Library and Information Studies Vol. 59, June 2012, pp. 122-127 Letter correspondences of Rabindranath Tagore: A Study Partha Pratim Raya and B.K. Senb aLibrarian, Instt. of Education, Visva-Bharati, West Bengal, India, E-mail: [email protected] b80, Shivalik Apartments, Alakananda, New Delhi-110 019, India, E-mail:[email protected] Received 07 May 2012, revised 12 June 2012 Published letters written by Rabindranath Tagore counts to four thousand ninety eight. Besides family members and Santiniketan associates, Tagore wrote to different personalities like litterateurs, poets, artists, editors, thinkers, scientists, politicians, statesmen and government officials. These letters form a substantial part of intellectual output of ‘Tagoreana’ (all the intellectual output of Rabindranath). The present paper attempts to study the growth pattern of letters written by Rabindranath and to find out whether it follows Bradford’s Law. It is observed from the study that Rabindranath wrote letters throughout his literary career to three hundred fifteen persons covering all aspects such as literary, social, educational, philosophical as well as personal matters and it does not strictly satisfy Bradford’s bibliometric law. Keywords: Rabindranath Tagore, letter correspondences, bibliometrics, Bradfords Law Introduction a family man and also as a universal man with his Rabindranath Tagore is essentially known to the many faceted vision and activities. Tagore’s letters world as a poet. But he was a great short-story writer, written to his niece Indira Devi Chaudhurani dramatist and novelist, a powerful author of essays published in Chhinapatravali1 written during 1885- and lectures, philosopher, composer and singer, 1895 are not just letters but finer prose from where innovator in education and rural development, actor, the true picture of poet Rabindranath as well as director, painter and cultural ambassador. -
L'adieu a La Vie, 130 Alice in Wonderland, 33 Amiel's Journal, 33
Index Abbott, Lyman, 16 Bauls,46 Achebe, Chinua, 141 Bedford Chapel, Bloomsbury, 11 L'Adieu ala Vie, 130 Beerbohm, Max, 18 African writers, 143 Bengal, 12, 13, 26, 27, 28, 51, 84, 88, Ajanta Cave paintings, 8, 113 100, 110, 145 Agriculture, 96 Bengal Academy, 145 Ahmedabad, 30 Bengal partition, 17 AJfano, Franco, 123 Bengal Renaissance, 50, 51, 52, 54 AJhambra Theatre, London, 123, Bengali language, 1, 8, 13, 27, 29, 35, 127 36,42,142 Alice in Wonderland, 33 Bengali literature, 3, 8, 9, 11, 14,29, Amiel's Journal, 33 33,35,36,37,38,39,42,114 Amritsar massacre, 128 Benjamin, Walter, 109 see also Jalianwalla Bagh Beowulf, 35 massacre, Berg,AJban, 131, 132, 133 Andersen, Hans Christian, 30 Berhampore Gessore), 27 Andrews, C. F., 63, 96, 99 Berlin, 133 Anderson, James Drummond, 8 Berlin Exhibition of Tagore's art, The Arabian Nights, 30, 79, 122 108 Argentina, 97 Bhanaphul (Wild Flower), 52 Aristotle, 38 Bhanusinha (pen-name of Aronson,AJex,l04 Rabindranath Tagore), 27 Art deco, 110 Bhiirati (Bengali journal), 31, 52 Art nouveau, 110 Bharatvasher Itihasha Dhara (A Vision The Artist, 115 of India's History), 58, 59 Asian languages, 142 Bhartrhari, 124 Asian literature, 143 Bhiisa Katha, 42 Asian Review, 20 Bhattacharya, Upendranath, 43 The Athenaeum (journal), 6, 17 Bidou, Henri, 106, 107 Attenborough, Richard, 153 Birdwood, Sir George, 7, 8 Aurobindo Ghose, 50 Birmingham Exhibition of Tagore's Art, 106 Bach, J. S., 106 Bisarjan (Sacrifice), 143 Baines, William, 127 see also Sacrifice Balak (Bengali journal), 31, 32 Blake, William, 6 Balej, -
Here Are So Many People, Decisions and Steps in Between That Are Rarely Discussed
** SCHEDULE OF SPECIAL EVENTS AND INDUSTRY PANELS BELOW BY DATE** (***Additions to Be Announced asap***) THURSDAY, JUNE 24 EPSTEIN’S SHADOW: GHISLAINE MAXWELL (Peacock; June 24)-OPENING NIGHT EVENT In Attendance: Barbara Shearer (Director & Executive Producer), Jennifer Harkness, Nina Burleigh and Emma Cooper (Executive Producers) The documentary series will investigate the powerful, connected, and mysterious Ghislaine Maxwell, who was once the heiress to the Maxwell fortune but whose life takes a sordid downturn when she meets Jeffrey Epstein, the serial sex offender. This investigative series will reveal a complicated story of power, sex, and money, which leads to Ghislaine Maxwell’s arrest awaiting trial in November 2021. The series, titled “Ghislaine Maxwell: Epstein’s Shadow,” will also premiere on Sky Documentaries and streaming service NOW in the UK on June 28. Deadline INSIDE LOOK: THE DAILY SHOW WITH TREVOR NOAH (Comedy Central; Weeknights)- PANEL In Attendance: Desi Lydic and Dulcé Sloan (Correspondents), Jen Flanz (Executive Producer and Showrunner), Zhubin Parang (Supervising Producer and Writer), and Dan Amira (Head Writer and Producer) Between a global pandemic and countless social justice crises this past year, The Daily Show with Trevor Noah offered both levity and crucial commentary on some of today’s most uncomfortable truths. Sit down with The Daily Show’s creative team to discuss how the show works behind the scenes to tackle tough conversations, elevate underrepresented voices and navigate the unforeseen challenges of 2020—all while making the audience laugh. Veteran creatives and correspondents share their insight on what it takes to make a successful show and keep audiences engaged 24/7 with not just the program, but also more broadly with the world around them. -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Il Mercato TV Non Ha Bisogno Di Bugie: I Canali 100 E 200 Per Ora
n.250 / 21 6 SETTEMBRE 2021 MAGAZINE C’è un nuovo Sky Q OLED top di gamma Philips Xiaomi dice Champions su Prime Ha il DVB-T2 e nasce 2 processori e funzione addio al Video: un duro test per lo streaming 03 “anti stampaggio” 06 marchio “Mi” 09 per la rete italiana 19 Il mercato TV non ha bisogno di bugie: i canali 100 e 200 per ora sono inutili Con il rinvio “sine die” dello switch-off, i canali 100 e 200 non sono più adatti ad indicare i TV obsoleti. Si rischia di mandare a rottamazione TV che hanno ancora davanti anni di funzionamento 02 Bonus TV Rottamazione, le FAQ 43 Tutto quello che c’è da sapere Ecco come funziona il Bonus TV Rottamazione fino a 100 euro: procedure, tempi, requisiti e moduli. Microscopio Celestron E perché non è facile ottenerlo per compra online. 04 Imparare divertendosi DAZN e Serie A, un inizio da incubo 47 Tutto sistemato, ma c’è da fare Partenza della Serie A in salita per DAZN, con streaming L’Ecobonus ritorna bloccato per alcuni minuti: si parla di assestamento Trasferiti i 57 milioni iniziale, ma il problema maggiore resta la qualità. dell’Extrabonus 07 Per TIM “la rete ha funzionato”, ma Agcom resta vigile nel fondo ordinario IN PROVA IN QUESTO NUMERO 24 28 35 41 Samsung Neo QLED Galaxy Watch4 Antifurto Ajax, casa TCL C825, MiniLED LCD ai massimi livelli Buono ma non perfetto sicura in poche ore sotto i 1000 euro torna al sommario 1 n.250 / 21 6 SETTEMBRE 2021 MAGAZINE TV E VIDEO Con il rinvio del passaggio al DVB-T2, gli appelli a verificare l’obsolescenza dei TV con i canali 100 e 200 sono fuorvianti I canali 100 e 200 del DTT ora non servono Molti TV non compatibili non vanno rottamati In questa fase in cui si parla insistentemente di “rottamazione TV” in forza del nuovo Bonus, bisogna essere molto chiari di Gianfranco GIARDINA uesto non è un articolo che gradiranno tutti: probabilmente qualche operatore, del retail Qo dell’industria, troverà questo intervento inopportuno. -
Cablefax Dailytm Friday — January 13, 2012 What the Industry Reads First Volume 23 / No
URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 4 Pages Today CableFAX DailyTM Friday — January 13, 2012 What the Industry Reads First Volume 23 / No. 008 ADVERTISEMENT I N T R O D U C I N G THE NEW 24 HOUR SPORTS NETWORK NBCSports.com © Copyrighted material! It is unlawful to photocopy/resend CableFAX Daily without written permission from Access Intelligence, LLC QUESTIONS ABOUT YOUR SUBSCRIPTION? CALL: 888/707-5810 OR E-MAIL: [email protected] 4 Choke Cherry Road, 2nd Floor, Rockville, MD 20850 URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 4 Pages Today CableFAX DailyTM Friday — January 13, 2012 What the Industry Reads First Volume 23 / No. 008 Staying Live: Few Are Doing it When it Comes to TV Cue the Buffalo Springfield soundtrack. In a research note musing, “there’s something happening here,”Nomura analyst Michael Nathanson provided some color about a well known yet nettlesome industry seachange that’s highlighted each year by all the gadgets on display at CES: the rapid decline of live TV viewership. “Thanks to either the continued impact of the DVR, shifts in the Nielsen sample, the NBA strike or slight changes in consumption patterns, live primetime TV viewership declined almost -5% [in 4Q]–now 13 straight quarters of live declines,” said Nathanson. Duh, you say? Such utterers likely wouldn’t be moved by Nathanson’s claim that cable’s live ratings (-5%) fell more than broadcast’s (-3%) in the quarter either—a slew of cable originals count more than 40% time-shifted viewership—but that hasn’t happened in 5 quarters and perhaps more importantly, broadcast C3 viewing rose 0.3% while cable’s dipped 1.1%. -
February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)
February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 minutes) Directed by Satyajit Ray Written byRabindranath Tagore ... (from the story "Nastaneer") Cinematography by Subrata Mitra Soumitra Chatterjee ... Amal Madhabi Mukherjee ... Charulata Shailen Mukherjee ... Bhupati Dutta SATYAJIT RAY (director) (b. May 2, 1921 in Calcutta, West Bengal, British India [now India]—d. April 23, 1992 (age 70) in Calcutta, West Bengal, India) directed 37 films and TV shows, including 1991 The Stranger, 1990 Branches of the Tree, 1989 An Enemy of the People, 1987 Sukumar Ray (Short documentary), 1984 The Home and the World, 1984 (novel), 1979 Naukadubi (story), 1974 Jadu Bansha (lyrics), “Deliverance” (TV Movie), 1981 “Pikoor Diary” (TV Short), 1974 Bisarjan (story - as Kaviguru Rabindranath), 1969 Atithi 1980 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The (story), 1964 Charulata (from the story "Nastaneer"), 1961 Elephant God, 1977 The Chess Players, 1976 Bala, 1976 The Kabuliwala (story), 1961 Teen Kanya (stories), 1960 Khoka Middleman, 1974 The Golden Fortress, 1973 Distant Thunder, Babur Pratyabartan (story - as Kabiguru Rabindranath), 1960 1972 The Inner Eye, 1972 Company Limited, 1971 Sikkim Kshudhita Pashan (story), 1957 Kabuliwala (story), 1956 (Documentary), 1970 The Adversary, 1970 Days and Nights in Charana Daasi (novel "Nauka Doobi" - uncredited), 1947 the Forest, 1969 The Adventures of Goopy and Bagha, 1967 The Naukadubi (story), 1938 Gora (story), 1938 Chokher Bali Zoo, 1966 Nayak: The Hero, 1965 “Two” (TV Short), 1965 The (novel), 1932 Naukadubi (novel), 1932 Chirakumar Sabha, 1929 Holy Man, 1965 The Coward, 1964 Charulata, 1963 The Big Giribala (writer), 1927 Balidan (play), and 1923 Maanbhanjan City, 1962 The Expedition, 1962 Kanchenjungha, 1961 (story). -
Http//:Daathvoyagejournal.Com Editor: Saikat Banerjee Department Of
http//:daathvoyagejournal.com Editor: Saikat Banerjee Department of English Dr. K.N. Modi University, Newai, Rajasthan, India. : An International Journal of Interdisciplinary Studies in English ISSN 2455-7544 www.daathvoyagejournal.com Vol.2, No.1, March, 2017 A Journey: From Nostohnirh to Charulata Shubhendu Shekhar Naskar Assistant Professor Department of English Basirhat College Email- [email protected] Abstract: Rabindranath Tagore and Satyajit Ray are two high-flying names in the sky of art, culture and literature. They have glorified Bengal as well as India in the sphere of whole universe. Tagore wrote many legendary novels which were later taken as the scripts of Indian films. Such an epoch making novel of Tagore was Nostonirh (The Broken Nest) which was transformed into a film in the hand of renowned director, Satyajit Ray. Ray not only took the story, he also mixed the plot with his imagination. This compilation leads the novel to become almost a similar famous film in Bengali, ‘Charulata’. My article will try to highlight this artistic approach of Ray along with his adoption of the novel. Key words: Tagore, Ray, Nostonirh, Charulata, Bhupati, Amal. Rabindranath Tagore's stories exemplify his remarkable abilities to enter into the complexities of human relationships profoundly. Within the seemingly simple plots, he could explore the psychological aspects of his characters properly. They seem to be the true representatives of their time. As a result they bring out the sociological aspects of the then Bengali society. In his highly acclaimed novel Nostonirh (The Broken Nest), Tagore simply portrays with extraordinary compassion and lyricism the predicament of women in traditional Bengali contexts, through the loneliness of an intelligent, beautiful woman who is neglected by her husband. -
Youtube's Recommendation System and the 2019 Canadian Federal
UP NEXT: YouTube’s Recommendation System and the 2019 Canadian Federal Election by Daniel Cockcroft A thesis submitted in partial fulfillment of the requirements for the degrees of Master of Arts and Master of Library and Information Studies Digital Humanities and School of Library and Information Studies University of Alberta © Daniel Cockcroft, 2020 ABSTRACT In the months leading up to the 2016 election in the United States, YouTube’s recommendation algorithm decidedly favored pro-Trump videos, fake news and conspiracy theories. In this thesis, I question whether such bias is present in the context of the 2019 federal election in Canada. To do so, I make use of open-source software to gather recommendation data related to three of the candidates: Conservative Party of Canada leader Andrew Scheer, New Democratic Party leader Jagmeet Singh, and Liberal Party of Canada leader Justin Trudeau. Using the same data, I will also study the media bias and factual accuracy of the sources recommended. My results show that YouTube’s recommender system is susceptible to influence by audiences and shows bias towards Andrew Scheer and against Justin Trudeau. Given my results and evidence provided by other researchers, this study stresses the need for ethical algorithm design, including proactive approaches for increased transparency, regulatory oversight, and increased public awareness. ii ACKNOWLEDGEMENTS I would like to extend a big thank you to my supervisory committee, Tami, Astrid, and Harvey for keeping me inspired and asking the right questions. Your countless hours of work have not gone unnoticed, and through your efforts you’ve made me a better researcher and writer. -
Mercado De Streaming De Video
MERCADO DE STREAMING DE VIDEO Maria del Mar Mereles Motta [email protected] Octubre,2019 Resumen En los últimos años, las empresas de tecnología y de medios de comu- nicación han apostado por las características de las plataformas de vídeo bajo demanda, con el fin de innovar en los negocios y la industria audiovi- sual, creando una comunidad de usuarios que hacen uso de la visualización conectada para acceder a contenidos en múltiples pantallas cuando quie- ran y donde quieran. En este artículo se pretende analizar el mercado y la experiencia de consumo audiovisual, provocada por la apertura de nuevos canales de distribución online, tratando de entender los servicios de Vi- deo On Demand como una nueva plataforma de transimision de contenido visual. 1. Intoducción La producción y el consumo de música y video se ha transformado radi- calmente desde la llegada de Internet y la digitalización de los dispositivos de realización, distribución y recepción. Encontramos que la transformación apun- ta hacia el aumento de la cantidad y calidad de los contenidos, es decir, más diversidad de contenidos de entretenimiento y con mucha mejor calidad técnica y reproductibilidad. Actualmente, gracias a la revolución digital la distribución de contenido au- diovisual online es realizada por medio de la tecnología streaming, mas conocido como servicio de VoD (Video On Demand). Es posible acceder a contenidos ge- nerados no solo por los propios usuarios (como los youtubers) sino por la indus- tria cultural tradicional (series y películas). Ese acceso multipantalla ha llegado gracias a múltiples dispositivos como las tablets y los teléfonos móviles. -
Issue 419 | 19 December 2018 End-Of-Year Report 1
thereport ISSUE 419 | 19 DECEMBER 2018 END-OF-YEAR REPORT 1 ISSUE 419 19.12.18 Hope and No.1 glory treaming subscriptions have trend, with three, growth excitement about the potential in brought growth back to the streaming is fuelling the China, India and Africa, there is much music industry – and in 2018 subscriptions the confidence to invest to celebrate from 2018. that has fuelled optimism and driving force. – in artists, technology and That’s not to say the year didn’t Sinvestment. The US, for example, saw copyrights alike. throw up some worries, arguments The global recorded-music industry 10% growth in the first half of 2018 for This is the key music industry trend and even the odd existential debate: lost 56% of its value between 1999 and both retail spending and wholesale of 2018. This is a growth industry once from Spotify’s growing pains, sluggish 2014, falling from annual revenues of revenues from recorded music, with more, and that is driving the decisions markets in Germany and Japan, and the $25.2bn to $14.2bn, according to the 46.4m music subscribers spending of the people within it, as well as failure to deliver (so far) of technologies IFPI. The memory of that 15-year period $2.55bn on their subscriptions – up 33% those outside with the resources to like VR and blockchain to the ever-tense should be enough to stop anyone in year-on-year and now accounting for invest in it. Optimism is back, although ‘value gap’ battles. our industry getting too carried away 55.4% of total spending.