Annual Report 2007 Prosiebensat.1 Group: Key Figures 2007 20071 20064 Change
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CAESARS ENTERTAINMENT CORPORATION (Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 SCHEDULE 14A Proxy Statement Pursuant to Section 14(a) of the Securities Exchange Act of 1934 (Amendment No. ) Filed by the Registrant ☒ Filed by a Party other than the Registrant ☐ Check the appropriate box: ☐ Preliminary Proxy Statement ☐ Confidential, for Use of the Commission Only (as permitted by Rule 14a-6(e)(2)) ☒ Definitive Proxy Statement ☐ Definitive Additional Materials ☐ Soliciting Material under §240.14a-12 CAESARS ENTERTAINMENT CORPORATION (Name of Registrant as Specified in its Charter) (Name of Person(s) Filing Proxy Statement, if Other Than the Registrant) Payment of Filing Fee (Check the appropriate box): ☒ No fee required. ☐ Fee computed on table below per Exchange Act Rules 14a-6(i)(1) and 0-11. (1) Title of each class of securities to which transaction applies: (2) Aggregate number of securities to which transaction applies: (3) Per unit price or other underlying value of transaction computed pursuant to Exchange Act Rule 0-11 (set forth the amount on which the filing fee is calculated and state how it was determined): (4) Proposed maximum aggregate value of transaction: (5) Total fee paid: ☐ Fee paid previously with preliminary materials. ☐ Check box if any part of the fee is offset as provided by Exchange Act Rule 0-11(a)(2) and identify the filing for which the offsetting fee was paid previously. Identify the previous filing by registration statement number, or the Form or Schedule and the date of its filing. (1) Amount Previously Paid: (2) Form, Schedule or Registration Statement No.: (3) Filing Party: (4) Date Filed: Table of Contents Table of Contents OUR GUIDING FRAMEWORKS Our Mission We inspire grown-ups to play. -
Medieutveckling 2018 Innehåll
MEDIEUTVECKLING 2018 INNEHÅLL FÖRORD 3 RESULTATEN I SAMMANFATTNING 4 1. OM RAPPORTEN 8 2. STRUKTURELLA FÖRUTSÄTTNINGAR OCH UTVECKLINGSTENDENSER 9 2.1 Konjunkturläget 2017 9 2.2 Reklammarknadens utveckling 10 2.3 De största medieföretagen 12 2.3.1 Sveriges största medieföretag 13 2.3.2 De största utlandskontrollerade medieföretagen 15 3. RADIO- OCH TV-BRANSCHEN 17 3.1 En strukturell överblick 17 3.1.1 Reklamförsäljningen 19 3.1.2 Publikmarknaden 20 3.1.3 Aktörer och marknadsandelar 22 3.2 Public servicebolagen 25 3.3 De kommersiella tv-bolagen 26 3.4 De kommersiella radiobolagen 29 4. DAGSPRESSEN 31 4.1 En strukturell överblick 32 4.1.1 Tidningsförsäljningen 33 4.1.2 Reklamförsäljningen 36 4.2 Resultat och lönsamhetsnivåer 38 4.2.1 Dagstidningsföretagens lönsamhet 39 4.2.2 Årets mest lönsamma tidningsföretag 41 4.3 De största tidningsgrupperna 42 4.4 Dagstidningar med allmänt driftsstöd 44 4.4.1 Den lågfrekventa dagspressen 45 4.4.2 Medel- och högfrekventa dagstidningar med allmänt driftsstöd 45 4.5 Övriga medel- och högfrekventa dagstidningar 47 4.5.1 Landsortspressen 47 4.5.2 Storstadspressen 47 4.6 Marknaden för dagstidningsdistribution 48 MYNDIGHETEN FÖR PRESS, RADIO OCH TV ISSN 1404-2819 Grafisk form Martin Zachrisson ISBN 978-91-983978-8-8 Distribution Myndigheten för press, radio och tv, Författare Jonas Ohlsson, Nordicom, Göteborgs universitet Kontakta oss 08 580 070 00, www.mprt.se Bearbetning Ulrika Facht, Nordicom, Göteborgs universitet Publicerad Oktober 2018 2 FÖRORD yndigheten för press, radio och tv har i uppdrag att verka för yttrandefrihet, Mmångfald och tillgänglighet samt följa och analysera utvecklingen inom medie- området. -
Hur Konstrueras Det Svenska Kändisskapet I Subgenren Realitysåpa?
Hur konstrueras det svenska kändisskapet i subgenren realitysåpa? En kvantitativ innehållsanalys av subgenren realitysåpa Av: Maria Vallén Handledare: Peter Jakobsson Södertörns högskola | Institutionen för kultur och lärande Kandidatuppsats 15 hp Medie- och kommunikationsvetenskap C | Höstterminen 2019 Medievetarprogrammet Abstract Syftet med denna studie är att undersöka hur det svenska kändisskapet blir konstruerat i subgenren realitysåpa samt att urskilja likheter och skillnader inom genren gällande hur celebritetsskapet skildras. Utifrån syftet ställdes två frågeställningar upp, hur konstrueras det svenska kändisskapet i subgenren realitysåpa samt vilka likheter och skillnader sett till programmens sätt att skildra celebritetskap uppmärksammas. Med avstamp i teorier och tidigare forskningar som berör forskningsområdena celebritetskultur och reality-tv utformades en kvantitativ innehållsanalys. Den kvantitativa innehållsanalysen utgick från ett tidsbestämt urval för tv-serier som sändes på kommersiella tv-kanaler hösten 2018. Materialet består av avsnitt från fyra svenska tv-serier som hör till subgenren realitysåpa om totalt 43 stycken avsnitt som omfattar cirka 26,5 timmar. De tv-serier som denna studie grundar sig på är Cirkus Bagge, Hyséns, Lailaland och Wahlgrens värld. Utifrån olika komponenter i tv- serierna har ett kodschema bildats som omfattar 56 olika variabler inom 12 kategorier; kanal, serie, avsnitt, miljö, personer, centrala teman, medieaktiviteter, konsumtion, celebritetsaktiviteter, vardagsaktiviteter, celebritetens -
Notice of Annual Meeting of Stockholders to Be Held on June 6
NOTICE OF ANNUAL MEETING OF STOCKHOLDERS TO BE HELD ON JUNE 6, 2019 To the Stockholders of Netflix, Inc.: NOTICE IS HEREBY GIVEN that the Annual Meeting of Stockholders of Netflix, Inc., a Delaware corporation (the “Company”), will be held on June 6, 2019 at 3:00 p.m. Pacific Time. You can attend the Annual Meeting via the internet, vote your shares electronically and submit your questions during the Annual Meeting, by visiting www.virtualshareholdermeeting.com/nflx2019 (there is no physical location for the Annual Meeting). You will need to have your 16-Digit Control Number included on your Notice or your proxy card (if you received a printed copy of the proxy materials) to join the Annual Meeting. The Annual Meeting will be held for the following purposes: 1. To elect four Class II directors to hold office until the 2022 Annual Meeting of Stockholders; 2. To ratify the appointment of Ernst & Young LLP as the Company’s independent registered public accounting firm for the year ending December 31, 2019; 3. Advisory approval of the Company’s executive officer compensation; 4. To consider two stockholder proposals, if properly presented at the Annual Meeting; 5. To transact such other business as may properly come before the meeting or any adjournment or postponement of the meeting. These business items are described more fully in the Proxy Statement accompanying this Notice. Only stockholders who owned our common stock at the close of business on April 8, 2019 can vote at this meeting or any adjournments that may take place. All stockholders are cordially invited to attend the meeting via the internet. -
Nordisk Film & Tv Fond, Agreement, 2020–2024
NORDISK FILM & TV FOND, AGREEMENT, 2020–2024 Nordic Council of Ministers (the culture ministers) and the Danish Broadcasting Corporation (DR), TV2 Danmark A/S, Yleisradio OY, MTV OY, the Icelandic National Broadcasting Service (RUV), Síminn, Sýn hf / Stöð 2, the Norwegian Broadcasting Corporation (NRK), TV2 A/S Norway, Discovery Networks Norway, Sveriges Television AB, TV4 AB, Discovery Networks Sweden, C More Entertainment, NENT/Viaplay, the Danish Film Institute, the Finnish Film Foundation, the Icelandic Film Centre, the Norwegian Film Institute and the Swedish Film Institute. OBJECTIVE ARTICLE 1 The purpose of the Nordisk Film & TV Fond, henceforth referred to as the Fund, is to promote the production and distribution of Nordic audiovisual works of high quality, in accordance with rules set out in the Fund’s statutes and administrative guidelines. STATUS AND ACTIVITIES ARTICLE 2 1. The Fund is subject to the legal requirements that apply to funds in the country in which it is based. 2. The Fund must operate in accordance with its statutes, which are enclosed with this agreement, and with the administrative guidelines laid down by the Fund’s Board. ARTICLE 3 1. The above-mentioned parties (hereinafter referred to as the Parties) to this agreement (the Agreement), agree that the Nordic Council of Ministers (the culture ministers), in consultation with the Parties, will lay down statutes for the Fund’s activities. The statutes must at all times be in accordance with the relevant legislation in the country in which the Fund is based. 2. The Nordic Council of Ministers can, in consultation with the Parties, make changes and additions to the statutes. -
Converged Markets
Converged Markets - Converged Power? Regulation and Case Law A publication series of the Market power becomes an issue for European and media services and enabling services, platforms and European Audiovisual Observatory national law makers whenever market players acquire a converged services, and fi nally distribution services. degree of power which severely disturbs the market balance. In this sense, the audiovisual sector is no The eleven countries were selected for this study because exception. But this sector is different in that too much they either represented major markets for audiovisual market power may not only endanger the competitive media services in Europe, or because they developed out- parameters of the sector but may also become a threat side the constraints of the internal market, or because they had some interesting unique feature, for example to the freedom of information. It is this latter aspect the ability to attract major market players despite lacking which turns market power into a particularly sensitive an adequately sized market. issue for the audiovisual sector. National legislators and regulators backed by national courts seek solutions The third part brings in the economic background in the adapted to this problem. form of different overviews concerning audience market shares for television and video online. This data puts the This IRIS Special issue is deals with the regulation of legal information into an everyday context. market power in the audiovisual sector in Europe. The fourth and fi nal part seeks to tie together the common The fi rst part of this IRIS Special explores the European threads in state regulation of media power, to work Union’s approach to limiting media power, an approach out the main differences and to hint to some unusual still dominated by the application of competition law. -
Se Bilaga 1 Tillstånd Att Sända Tv Och Sökbar Text-Tv
1/13 Dnr 19/02700 m.fl. BESLUT 2020-02-18 PARTER Se bilaga 1 SAKEN Tillstånd att sända tv och sökbar text-tv __________________ BESLUT Ansökningar om tillstånd som beviljas Myndigheten för press, radio och tv beviljar tillstånd att sända tv och sökbar text-tv för de programtjänster som anges i uppställningen nedan. Förutsättningarna för sändningarna framgår av respektive programtjänsts villkorsbilaga. De anmälda beteckningarna för programtjänster som omfattas av svensk jurisdiktion godkänns. För övriga programtjänster registreras beteckningen. Programtjänstens beteckning Villkors- Dnr Tillståndshavare Inom parentes anges bilaga sändningskvalitet 19/03283 Al Jazeera Media Network Al Jazeera English (sd) tv2020:1 19/03201 Axess Publishing AB Axess (sd) tv2020:2 19/03204 BBC Studios Distribution Ltd BBC Earth (sd) tv2020:3 19/03209 BBC Global News Ltd BBC World News (sd) tv2020:4 19/03237 C More Entertainment AB C More First (sd) tv2020:5 19/03241 C More Entertainment AB C More Fotboll & Stars HD (hd) tv2020:6 19/03242 C More Entertainment AB C More Golf & SF-kanalen (sd) tv2020:7 19/03240 C More Entertainment AB C More Hockey & Hits (sd) tv2020:8 19/03243 C More Entertainment AB C More Live (sd) tv2020:9 19/03238 C More Entertainment AB C More Series (sd) tv2020:10 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | -
I1 ~0402594487 11111 U~ I. Continuity and Change in Hollywood Representations of The
'\ I1 ~0402594487 11111 U~ I. Continuity and Change in Hollywood Representations of the Middle East after September 11 th by Sulaiman Arti A Doctoral Thesis Submitted in Partial Fulfilment of the Requirements for the Award of Doctor of Philosophy of Loughborough University June 2009 © 2008 S. Arti Abstract This thesis inquires into the factors behind Hollywood's depiction of the Middle East. That depiction is not static, but is modified in response to changes in political events and US government foreign policy. Although the events of 9/11 seemed to justify the traditional negative stereotype of Arabs, the image has been partially and rationally re-interpreted. This was due to the rise in prominence of the ideas of a minority of radical and free-thinking members of the Hollywood cornmunity who embraced a more intellectual approach, which advocated that the popular Western view of the Arab world was unjustified and based on a fallacious fabrication for Western political advantage. The research further shows that these activists did not owe allegiance to the Hollywood-US government propaganda machine. They were able to fracture this traditional alliance and provide the opportunity for the appearance of films of a radical nature, which were critical of US Middle Eastern policy and projected the Arab world in a new light. The study analyzes a selection of films that represent the Middle East in terms of their philosophy and cinematic structure, which enables them to act as vectors to raise public awareness of the issues and to promote reconciliation and co-existence between East and West. -
LAVO-ME Meldingsid: 461848 Instrument
Lavo.tv AS Innsendt dato: 24.10.2018 08:45 UtstederID: LAVO-ME MeldingsID: 461848 Instrument: LAVO-ME - Marked: MERK Kategori: INNSIDEINFORMASJON Informasjonspliktig: Ja Lagringspliktig: Nei Vedlegg: Tittel: Telia-owned C More chooses LAVO (Oslo, 23 October 2018) LAVO.TV (Merkur Markets: LAVO-ME) has signed an agreement with Swedish C More for direct video highlights for the following Swedish football and ice hockey professional leagues - Allsvenskan, Svenska Hockeyligan (SHL) and Hockey Allsvenskan. This agreement positions LAVO.AS towards bigger markets and fulfills the company´s long term strategy. C More is owned by Telia Sweden, also part of Bonnier Broadcasting (C More, TV4 and MTV3 in Finland). In Sweden alone, Telia has 6,1 million mobile subscribers. LAVO.TV's founder, Tom Roger Sokki says: - Football and ice hockey for the Swedes are similar to ski sports for Norwegians. The interest is enormous, and LAVO.TV will offer direct highlights to Swedish mobile subscribers. It is an unique business opportunity for our growth strategy. Short, instant video snippets are key to LAVO´s technology and business model. With this agreement, LAVO.TV follows the company´s strategy to offer content from the most popular sports to mobile users in the Nordics and international markets. The target group is consuming media content "on the go", and it is important to provide content to mobile and tablets in top class formats. - Sports content is relevant for all target groups, something we see in the market for TV-rights in all countries. We strategically move in the attractive, Nordic market, both in the general sport interests and the growing market of sports. -
Right of Reproduction and Right of Making Available to the Public in the Eu-Ukraine Association Agreement*
ISSN 2308-0361 АВТОРСЬКЕ ПРАВО ТА СУМІЖНІ ПРАВА RIGHT OF REPRODUCTION AND RIGHT OF MAKING AVAILABLE TO THE PUBLIC IN THE EU-UKRAINE ASSOCIATION AGREEMENT* Kostiantyn Zerov, Scientific-Research Institute of Intellectual Property, Scientific Researcher; PhD in Law The article deals with the analysis of two specific exclusive economic rights: the right of reproduction and the right of making available of works to the public in such a way that members of the public may access these works from a place and at a time individually cho- sen by them and compares them under the domestic Ukrainian legislation and under the EU-Ukraine Association agreement. The concepts of «reproduction» and of «communica- tion to the public» are considered. It is concluded that the right of reproduction is the most basic right since it forms the basis of most forms of exploitation of a work. Reproduction is, in reality, the copying of a work in any manner or form. At the same time, it remains uncertain in Ukraine at the leg- islative level that the right to reproduction of work includes direct or indirect reproduction and reproduction in whole or in part. These issues are up to the court to decide. It is concluded that the approach when the right of making available of works to the public is included in the broader «right of communication to the public» is applied in the EU Member States (Articles 3 and 4 of Directive 2001/29 /EC) and is reflected in Art. 174 Association Agreement. In addition, the concept of communication to the public in the EU must be construed broadly, as referring to any transmission of the protected works, irre- spective of the technical means or process used, this concept includes two cumulative cri- teria, namely, an ‘act of communication’ of a work and the communication of that work to a ‘public’. -
The Reader's Digest Association
THE READER’S DIGEST ASSOCIATION, INC. ANNUAL REPORT For the fiscal year ended June 30, 2007 Note: The Reader’s Digest Association, Inc. has prepared this annual report and posted the report on its website pursuant to Section 4.03(d) of the Indenture (the “Indenture”) dated as of March 2, 2007 among The Reader’s Digest Association, Inc., the Guarantors named therein and The Bank of New York, as trustee. This report will neither be filed with, nor furnished to, the Securities and Exchange Commission. Holders of The Reader’s Digest Association, Inc.’s 9% senior subordinated notes due 2017 issued pursuant to the Indenture may request copies of this report from The Reader’s Digest Association, Inc. at the following address and telephone number: The Reader’s Digest Association, Inc. Pleasantville, New York 10570-7000 Attn: Global Communications Telephone: (914) 244-7446 1 THE READER’S DIGEST ASSOCIATION, INC. ANNUAL REPORT FOR THE FISCAL YEAR ENDED JUNE 30, 2007 INDEX Page PART I BUSINESS 4 RISK FACTORS 24 UNRESOLVED STAFF COMMENTS 39 PROPERTIES 39 LEGAL PROCEEDINGS 39 SUBMISSION OF MATTERS TO A VOTE OF SECURITY HOLDERS 39 PART II MARKET FOR REGISTRANT’S COMMON EQUITY, RELATED STOCKHOLDER MATTERS AND 40 ISSUER PURCHASES OF EQUITY SECURITIES SELECTED FINANCIAL DATA 40 MANAGEMENT’S DISCUSSION AND ANALYSIS OF FINANCIAL CONDITION AND RESULTS OF 40 OPERATIONS QUANTITATIVE AND QUALITATIVE DISCLOSURES ABOUT MARKET RISK 60 FINANCIAL STATEMENTS 61 CHANGES IN AND DISAGREEMENTS WITH ACCOUNTANTS ON ACCOUNTING AND FINANCIAL 61 DISCLOSURE CONTROLS AND PROCEDURES -
Business Case Booklet
SMOKE University of California, San Francisco, Center for Tobacco Control Research and Education | August 2020 | FREE https://bit.ly/sfm-casebook2020 MOVIES SmokeFreeMovies.ucsf.edu When kids are at greater risk... Why are kids still starting to smoke and vape? And why are we seeing more smoking in US movies and TV shows? The two questions are connected. Tobacco content and exposure are increasing, overall, in top-grossing US movies released in theaters, first, and then on streaming channels with no age gates. Most of the companies making these movies also commission original streaming shows with tobacco content. This chart shows that tobacco content (incidents) and audience exposure (impressions) have increased by more than half in films youth-rated PG/ PG-13 over the past five years. Tobacco content more than doubled and au- dience tobacco exposures have tripled in R-rated films accessible to young people via in-home media, over the same period. 1 | Data: UCSF-Breathe California Onscreen Tobacco Database (OTDb) ...big media companies are at greater risk Since 2002, according to content surveys by UCSF and Breathe California, more than half of all top-grossing films have featured smoking, including 51% of movies released in 2019. Overall, 44% of PG-13 films and more than 70% of R-rated movies featured tobacco imagery. Movie inventories differ among companies, and not all films on streaming services are top-grossing movies, but it’s probable that about half of the total movie inventories now accessible to young people feature smoking. So do most of the original streaming shows most popular with young people 15-21, according to recent studies by Truth Initiative, the tobacco prevention foundation funded out of the states’ multibillion-dollar Master Settlement Agreement with US tobacco companies in 1998.