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Joint Action Against Online Video Piracy in China
November 13, 2013 Joint Action Against Online Video Piracy in China Lawsuits Seeking RMB300 Million in Damages Filed Against Baidu and QVOD on Claims of Spreading Pirated Videos and Engaging in Hotlinking BEIJING, Nov. 13, 2013 /PRNewswire/ -- Youku Tudou, Sohu Video, Tencent Video, LeTV, MPA, the Motion Picture Association of America (MPAA), CODA, Wanda Films, Enlight Media, Letv Films announce a joint declaration today in Beijing to fight online video infringement and piracy both on PC and mobile Internet in China. Meanwhile, the joint action announces legal action has been taken against Baidu and QVOD for compensation as high as RMB300 million. Representatives from more than a dozen Chinese and international film and television production companies attended the joint action announcement in Beijing. International attendees included the Motion Picture Association of America, Sony Pictures Entertainment, Warner Brothers, Disney and Paramount. Chinese attendees included the Capital Copyright Industry Alliance Capital Protection Division, the China Radio and Television Association of the Television Production Committee, and many Chinese production companies. "Since 2009, the video industry is facing a more severe anti-piracy situation," Sohu Group Chairman and CEO Charles Zhang said. "Especially when those big Internet companies with resource advantages participate in large-scale piracy. We cannot keep competing because where thieves and robbers are having their way, law-abiding companies cannot survive. We may even have to exit online video industry if such practices continue. Nobody will invest in content, and China's online video industry will face the sad situation as the music industry, which has already been destroyed by piracy, had faced before. -
9780367508234 Text.Pdf
Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Internet Economy 25 Years After .Com
THE INTERNET ECONOMY 25 YEARS AFTER .COM TRANSFORMING COMMERCE & LIFE March 2010 25Robert D. Atkinson, Stephen J. Ezell, Scott M. Andes, Daniel D. Castro, and Richard Bennett THE INTERNET ECONOMY 25 YEARS AFTER .COM TRANSFORMING COMMERCE & LIFE March 2010 Robert D. Atkinson, Stephen J. Ezell, Scott M. Andes, Daniel D. Castro, and Richard Bennett The Information Technology & Innovation Foundation I Ac KNOW L EDGEMEN T S The authors would like to thank the following individuals for providing input to the report: Monique Martineau, Lisa Mendelow, and Stephen Norton. Any errors or omissions are the authors’ alone. ABOUT THE AUTHORS Dr. Robert D. Atkinson is President of the Information Technology and Innovation Foundation. Stephen J. Ezell is a Senior Analyst at the Information Technology and Innovation Foundation. Scott M. Andes is a Research Analyst at the Information Technology and Innovation Foundation. Daniel D. Castro is a Senior Analyst at the Information Technology and Innovation Foundation. Richard Bennett is a Research Fellow at the Information Technology and Innovation Foundation. ABOUT THE INFORMATION TECHNOLOGY AND INNOVATION FOUNDATION The Information Technology and Innovation Foundation (ITIF) is a Washington, DC-based think tank at the cutting edge of designing innovation policies and exploring how advances in technology will create new economic opportunities to improve the quality of life. Non-profit, and non-partisan, we offer pragmatic ideas that break free of economic philosophies born in eras long before the first punch card computer and well before the rise of modern China and pervasive globalization. ITIF, founded in 2006, is dedicated to conceiving and promoting the new ways of thinking about technology-driven productivity, competitiveness, and globalization that the 21st century demands. -
In the Same Breath
IN THE SAME BREATH A film by Nanfu Wang #InTheSameBreathHBO DEBUTS 2021 ON HBO SUNDANCE FILM FESTIVAL SCREENING SCHEDULE Thursday, January 28 at 5:00 PM PT / 6:00 PM MT – Online (WORLD PREMIERE) For press materials, please visit: ftp://ftp.homeboxoffice.com username: documr password: qq3DjpQ4 Running Time: 95 min Press Contact Press Contact HBO Documentary Films Cinetic Marketing Asheba Edghill / Hayley Hanson Rachel Allen / Ryan Werner Asheba cell: 347-721-1539 Rachel cell: 937-241-9737 Hayley cell: 201-207-7853 Ryan cell: 917-254-7653 [email protected] [email protected] [email protected] [email protected] LOGLINE Nanfu Wang's deeply personal IN THE SAME BREATH recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. SHORT SYNOPSIS IN THE SAME BREATH, directed by Nanfu Wang (“One Child Nation”), recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. In a deeply personal approach, Wang, who was born in China and now lives in the United States, explores the parallel campaigns of misinformation waged by leadership and the devastating impact on citizens of both countries. Emotional first-hand accounts and startling, on-the-ground footage weave a revelatory picture of cover-ups and misinformation while also highlighting the strength and resilience of the healthcare workers, activists and family members who risked everything to communicate the truth. DIRECTOR’S STATEMENT I spent a lot of my childhood in hospitals taking care of my father, who had rheumatic heart disease. -
Voltron Comic Download Torrent Comic Books
voltron comic download torrent Comic books. Comic books in the Voltron franchise are pieces of fiction that extend the multiple canons. Over the three decades since the debut of Voltron: Defender of the Universe in 1984 there have been multiple publishers that would produce their own separate series for the franchise. Among them were continuations of TV series (with the exception of Voltron: The Third Dimension) that would run alongside the airing of its respective series. Other publishers would produce their own universe separate from any canon established by a TV series or would be loosely based off of it as a reboot. Contents. Japanese continuities. Terebi Land (1981 - 1984) Page from Terebi Land's March 1981 chapter of the Hyakujūō Golion manga. Terebi Land (also known as Television Land or TV Land) was a Japanese children's television magazine that focused on various anime and tokusatsu. In it were interviews, artwork, and individual manga chapters of TV series that were airing at the time. Terebi Land would publish many of Toei's super robot franchises including Beast King GoLion, Armored Fleet DaiRugger XV, and Lightspeed Electroid Albegas. Tsuchiyama Yoshiki, of Cyborg 009 fame, would be the illustrator for Beast King GoLion's manga, whereas Tsuhara Yoshiaki would illustrate the latter two. Like the tie-in comics for series as recent as Voltron: Legendary Defender, these manga chapters would run alongside its respective anime series as it airs. However, they would have different plots while using the same characters. For instance, Shirogane dies in both incarnations but would he would die under different circumstances in both versions. -
Co-Optation of the American Dream: a History of the Failed Independent Experiment
Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences. -
Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message
Indian entertainment and media outlook 2010 2 Indian entertainment and media outlook 2010 Message To our clients and friends both in and beyond the entertainment and media industry : Welcome to the 2010 edition of PricewaterhouseCoopers’ Indian Entertainment and Media (E&M) Outlook, covering the forecast period of 2010–2014. Our forecasts and analysis for this edition focus on eight major E&M industry segments and one emerging segment. Each segment details out the key trends observed and challenges faced apart from providing the prospects for the segment. In the industry overview section, we have highlighted the key theme observed during 2009 and what we perceive as future trends in the coming years. We have a chapter on the tax and regulatory impact on the various E&M segments and for the very first time we have included a chapter on how technology can be leveraged in the E&M industry. In 2009, the economy severely impacted the world, translating into steep declines in advertisement as well as consumer spending. India though impacted, did manage to show growth with increased consumer spending as well as innovative action on the part of the industry. Against this backdrop, across the world, except certain markets, speed of digital spending increased due to changing consumer behavior as well as technology available to deliver the same. In India, while the spend on digital media is likely to grow, it is unlikely that it will dominate in the forecast period. This is largely due to the relative unavailability as well as unaffordability of the broadband and mobile infrastructure. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Glenn-Garland-Editor-Credits.Pdf
GLENN GARLAND, ACE Editor Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. WELCOME TO THE BLUMHOUSE: BLACK BOX Emmanuel Osei-Kuffour Amazon / Blumhouse Productions EP: Jay Ellis, Jason Blum, Aaron Bergman PARADISE CITY*** (series) Ash Avildsen Sumerian Films EP: Lorenzo Antonucci PREACHER (season 3) Various AMC / Sony Pictures Television EP: Sam Catlin, Seth Rogen, Evan Goldberg ALTERED CARBON** (series) Various Netflix / Skydance EP: Laeta Kalogridis, James Middleton, Steve Blackman STAN AGAINST EVIL (series) Various IFC / Radical Media EP: Dana Gould, Frank Scherma, Tom Lassally BANSHEE (series) Ole Christian Madsen HBO / Cinemax Magnus Martens EP: Alan Ball THE VAMPIRE DIARIES (series) Various CW / Warner Bros. Television EP: Julie Plec, Kevin Williamson Feature Films PROJECT DIRECTOR STUDIO / PRODUCTION CO. BROKE Carlyle Eubank Wild West Entertainment Prod: Wyatt Russell, Alex Hertzberg, Peter Billingsley THE TURNING Floria Sigismondi Amblin Partners 3 FROM HELL Rob Zombie Lionsgate FAMILY Laura Steinel Sony Pictures / Annapurna Pictures Official Selection: SXSW Film Festival Prod: Kit Giordano, Sue Naegle, Jeremy Garelick SILENCIO Lorena Villarreal 5100 Films / Prod: Beau Genot 31 Rob Zombie Lionsgate / Saban Films Official Selection: Sundance Film Festival Prod: Mike Elliot, Andy Gould THE QUIET ONES John Pogue Lionsgate / Exclusive Media LORDS OF SALEM Rob Zombie Blumhouse / Anchor Bay Entertainment LOVE & HONOR Danny Mooney IFC Films / Red 56 HALLOWEEN 2 Rob Zombie Dimension Films BUNRAKU* Guy Moshe Snoot Entertainment Official -
ENTERTAINMENT November 2010 ENTERTAINMENT November 2010
ENTERTAINMENT November 2010 ENTERTAINMENT November 2010 Contents Advantage India Market overview Industry Infrastructure Investments Policy and regulatory framework Opportunities Industry associations 2 ADVANTAGE INDIA Entertainment November 2010 Advantage India - capital Increasing investments by the private sector and foreign media and entertainment (M&E) majors have enhanced India‘s entertainment infrastructure such as new multiplexes and digitization of TV distribution and theatre infrastructure. • Digitisation and technological advancements Improving across the value chain are improving the quality • Producing more than 1,000 films entertainment of content and reach, and also leading to new annually, India is the largest infrastructure business models. For example rural DTH producer of films in the world. penetration is three times higher than in urban Digital High • There are more than 500 TV areas, with digital TV penetration rate of 34% in revolution production channels in the country, requiring rural areas as compared to 12% in urban areas volumes 30 hours of fresh programming per week. • A liberalised foreign investment regime Advantage and other regulatory initiatives are resulting in a conducive business India environment for Indian M&E. Large and under • FDI upto 100 per cent is allowed in film Liberal penetrated • In 2008, there were as many as 3.3 billion and advertising, TV broadcasting (except government consumer theatre admissions in India. news) and 26 per cent in newspaper policies base • With the TV segment reaching as many as publishing. Favourable 134 million households in the country, • Migration from fixed to revenue sharing demographics India is one of the largest TV markets in license fee regime in radio segment and the world. -
Top Questions About Character Animation
Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame. -
Queer Utopia in Steven Universe Mandy Elizabeth Moore University of Florida, [email protected]
Research on Diversity in Youth Literature Volume 2 | Issue 1 Article 5 June 2019 Future Visions: Queer Utopia in Steven Universe Mandy Elizabeth Moore University of Florida, [email protected] Follow this and additional works at: http://sophia.stkate.edu/rdyl Recommended Citation Moore, Mandy Elizabeth (2019) "Future Visions: Queer Utopia in Steven Universe," Research on Diversity in Youth Literature: Vol. 2 : Iss. 1 , Article 5. Available at: http://sophia.stkate.edu/rdyl/vol2/iss1/5 This Article is brought to you for free and open access by SOPHIA. It has been accepted for inclusion in Research on Diversity in Youth Literature by an authorized editor of SOPHIA. For more information, please contact [email protected]. Moore: Future Visions: Queer Utopia in Steven Universe Since it premiered on Cartoon Network in 2013, Steven Universe has garnered both praise and criticism for its portrayal of queer characters and its flexible approach to gender. Created by Rebecca Sugar, a bisexual and nonbinary artist, the show tells the story of Steven, a half-human, half-alien teenager raised by a trio of alien parental figures called the Crystal Gems. Steven’s adventures range from helping his friends at the local donut shop to defending Earth from the colonizing forces of the Gem Homeworld. Across its five seasons, this series has celebrated many queer firsts for animated children’s content. In 2018, Steven Universe aired one of the first cartoon same-sex wedding scenes (“Reunited”), and in 2019, it became the first animated show to win a Gay and Lesbian Alliance Against Defamation (GLAAD) award, taking home the prize for Outstanding Kids and Family Programming.