Before the COPYRIGHT ROYALTY JUDGES Washington, D.C
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Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
Motion Picture License List of MPL Participating Theatrical Distributors & Producers
Motion Picture License List of MPL Participating Theatrical Distributors & Producers MAJOR HOLLYWOOD STUDIOS & AFFILIATED LABELS 20th Century Studios Paramount Pictures (f/k/a Twentieth Century Fox Film Corp.) Paramount Vantage Buena Vista Pictures Picturehouse Cannon Pictures Pixar Animation Studios Columbia Pictures Polygram Filmed Entertainment Dreamworks Animation SKG Republic Pictures Dreamworks Pictures RKO Pictures (Releases 2011 to present) Screen Gems PLEASE CHOOSE Dreamworks Pictures CATEGORY: (Releases prior to 2011) Searchlight Pictures (f/ka/a Fox Searchlight Pictures) Fine Line Features Sony Pictures Entertainment Focus Features Major Hollywood Studios STX Entertainment & Affiliated Labels Fox - Walden Touchstone Pictures Fox 2000 Films TV Tristar Pictures Fox Look Triumph Films Independent Hanna-Barbera United Artists Pictures Hollywood Pictures Faith-Based Universal Pictures Lionsgate Entertainment USA Films Lorimar Telepictures Children’s Walt Disney Pictures Metro-Goldwyn-Mayer (MGM) Studios Warner Bros. Pictures Spanish Language New Line Cinema Warner Bros. Television Nickelodeon Movies Foreign & International Warner Horizon Television Orion Pictures Warner Independent Pictures Paramount Classics TV 41 Entertaiment LLC Ditial Lifestyle Studios A&E Networks Productions DIY Netowrk Productions Abso Lutely Productions East West Documentaries Ltd Agatha Christie Productions Elle Driver Al Dakheel Inc Emporium Productions Alcon Television Endor Productions All-In-Production Gmbh Fabrik Entertainment Ambi Exclusive Acquisitions -
This Exclusive Report Ranks the World's Largest Licensors. the 2012 Report
MAY 2012 VOLUME 15 NUMBER 2 ® This exclusive report ranks the world’s largest licensors. Sponsored by The 2012 report boasts the addition of 20 new licensors, reinforcing the widespread growth of brand extensions, and represents more than $192 billion in retail sales. YOUR RIGHTS. YOUR PROPERTY. YOUR MONEY. Royalty, licensing, joint venture, and profit participation agreements present great revenue opportunities. But, protecting property rights and managing the EisnerAmper Royalty Audit & accuracy of royalty and profit reports often poses significant challenges. The Compliance Services dedicated team of professionals in EisnerAmper’s Royalty Audit & Contract Compliance Services Group use their expertise and experience to assist clients in n Royalty, Participation & Compliance Examinations protecting intellectual properties and recovering underpaid royalties and profits. n Financial Due Diligence There are substantial benefits for licensors and licensees when they know that n Litigation Consultation reports and accountings are fairly presented, truthful and in accordance with the n provisions of their agreements. Put simply: licensors should collect all amounts Royalty Process Consultation to which they are entitled and licensees should not overpay. Furthermore, our licensor clients turn to EisnerAmper when they require information about certain non-monetary activities of their licensees or partners in order to protect the value and integrity of their intellectual properties, and to plan for the future. Find out how EisnerAmper’s professionals can assist licensors prevent revenue from slipping away and how we provide licensees the tools they need to prepare the proper reports and payments. Let’s get down to business. TM Lewis Stark, CPA www.eisneramper.com Partner-in-Charge EisnerAmper Royalty Audit and Contract Compliance EisnerAmper LLP Accountants & Advisors 212.891.4086 [email protected] Independent Member of PKF International Follow us: This exclusive report ranks the world’s largest licensors. -
In the Matter of )) Docket No
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In the Matter of )) Docket No. 2010-1 CRB Cable Rate Adjustment of the )) Cable Statutory License Royalty Rates ) ) JOINT PETITION TO PARTICIPATE OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS Pursuant to the notice published in the Federal Register announcing the commencement of a proceeding to adjust royalty rates for the cable statutory license ("2010 Cable Rate Adjustment Proceeding") and requesting petitions to participate from interested parties, 75 Fed. Reg. 455 (January 5, 2010) ("Notice"), the Motion Picture Association of America, Inc. ("MP AA"), its member companies and other producers and distributors of syndicated series, movies, and specials broadcast by television stations and retransmitted by cable systems who have agreed to representation by MP AA ("MP AA-represented Program Suppliers"), hereby petition the Copyright Royalty Judges ("Judges") to participate in the 2010 Cable Rate Adjustment Proceeding, as required by 37 C.F.R. § 3Si.1(b)(1)(ii). Historically, MP AA has represented the interests of all copyright owners of syndicated series, movies, and specials broadcast by television stations ("Program Suppliers") during royalty rate proceedings. MP AA intends to represent the interests of those same Program Suppliers in the instant proceeding, including the interests of MP AA-represented Program Suppliers. The MPAA-represented Program Suppliers are identified in Attachment A hereto. MP AA reserves the right to amend its list of represented participants as such amendments may be necessary and legally permissible. As of the date of this Joint Petition to Participate, MP AA DB04/762224.0072/2331096.1 IG09 and its undersigned counsel certify that they have the authority and consent of each of the Program Suppliers listed on Attachment A to represent them in the 2010 Cable Rate Adjustment Proceeding. -
Weller Credits 2019
Production Design and Art Direction United Scenic Artists, Local 829 IATSE 505 Court Street 7P, Brooklyn NY 11231 NYC 212 9797761 Los Angeles 310 3981982 [email protected] IMDB: http://www.imdb.com/name/nm0919860/ LINKEDIN: www.linkedin.com/in/wellerdesign www.wellerdesign.com Production Design and Art Direction for film, television and theater. Extensive experience in single and multi camera art direction for features and network/cable television. Skillful, meticulous budgeting combined with quick and accurate drafting. Expertise in assembling and managing crews. Multiple Emmy Awards. Series NEW AMSTERDAM – Network Series - NBC UNIVERSAL 2019 Art Director ARMISTEAD MAUPIN’S TALES OF THE CITY – Mini Series- NETFLIX 2019 Assistant Art Director FIRST WIVE’S CLUB – PARAMOUNT NETWORK 2018 Art Director JESSICA JONES SEASON 3 - MARVEL PRODUCTIONS - NETFLIX 2018 Assistant Art Director JULIE’S GREENROOM – JIM HENSON PRODUCTIONS - NETFLIX –2016 Art Director QUANTICO – ABC - 2016 Assistant Art Director Feature Film LOST GIRLS – NETFLIX 2018 Art Director THE COMMUTER – LIONSGATE -2017 Assistant Art Director BRAWL IN CEL BLOCK 99 - RLJE FILMS - 2017 Art Department THE PERFECT GENTLEMAN – SHORT - 2010 Production Design BAD LIEUTENANT –ARIES FILMS -1992 Set Designer THE RAPTURE - FINE LINE FEATURES - 1991 Set Designer THE BLOODHOUNDS OF BROADWAY – COLUMBIA PICTURES - 1989 Assistant Art Director Live Events THE NEW LEVANT - KENNEDY CENTER 2018 GLAMOUR WOMEN OF THE YEAR- CONDE NAST Carnegie Hall 2016, 2017 ALICIA KEYS FOR VEUVE CLIQUOT – Liberty -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Desenhos Animados: Questões De Ética E Comportamento Animal
Universidade Federal Fluminense Pós - graduação em Bioética, Ética Aplicada e Saúde Coletiva Associação ampla - Universidade Federal do Rio de Janeiro, Fundação Oswaldo Cruz, Universidade do Estado do Rio de Janeiro, Universidade Federal Fluminense Juliana Clemente Machado O GATO DOMÉSTICO NOS DESENHOS ANIMADOS: QUESTÕES DE ÉTICA E COMPORTAMENTO ANIMAL Niterói 2015 Juliana Clemente Machado O gato doméstico nos desenhos animados: questões de ética e comportamento animal Tese apresentada Programa de Pós-Graduação em Bioética, Ética Aplicada e Saúde Coletiva, da Universidade Federal Fluminense como requisito parcial para obtenção do título de Doutora. Orientadora: Profª. Drª. Rita Leal Paixão Niterói 2015 M149 Machado, Juliana Clemente O gato doméstico nos desenhos animados: questões de ética e comportamento animal / Juliana Clemente Machado.- Niterói, 2015. 182 f. Orientador: Rita Leal Paixão Tese (Doutorado em Bioética, Ética Aplicada e Saúde Coletiva)– Universidade Federal Fluminense, Faculdade de Medicina, 2015. 1. Bioética. 2. Gatos. 3. Desenhos animados. 4. Mídia audiovisual. I. Titulo. CDD 174.90616 Juliana Clemente Machado O gato doméstico nos desenhos animados: questões de ética e comportamento animal Tese apresentada Programa de Pós-Graduação em Bioética, Ética Aplicada e Saúde Coletiva, da Universidade Federal Fluminense como requisito parcial para obtenção do título de Doutora. BANCA EXAMINADORA Profª. Drª. Rita Leal Paixão (Orientadora) Universidade Federal Fluminense Prof. Dr. José Mario D’Almeida Universidade Federal Fluminense Prof. Dr. Daniel Braga Lourenço Universidade Federal do Rio de Janeiro Profª. Drª Andrea Barbosa Osorio Sarandy Universidade Federal Fluminense Prof. Dr. Ricardo Tadeu Santori Universidade do Estado do Rio de Janeiro AGRADECIMENTOS Agradeço a Deus, por estar sempre comigo me ajudando a ser forte e otimista. -
Translation Studies: Shifts in Domestication and Foreignisation in Translating Japanese Manga and Anime (Part Four)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE 鹿児島純心女子短期大学研究紀要 第50号,87-97 2020Shifts in Domestication and Foreignisation in Translating Japanese Manga and Anime (Part Four) Translation Studies: Shifts in Domestication and Foreignisation in Translating Japanese Manga and Anime (Part Four) Matthew Watson Abstract: Like manga, there are anime series covering just about anything you can imagine, and after humble beginnings outside of Japan, it is now a booming international industry that rakes in billions of dollars each year. The way anime has been viewed and translated has changed dramatically over the last few decades. Key Words栀[Anime][Censorship][Fan-subs] (Received September 24, 2019) Anime This chapter will seek to examine anime and how it is translated and localised into English. It will look at the evolution and translation techniques of fansubs and their sometimes extreme levels of foreignisation. Then examine official licensed translation, looking at the Subs vs. Dubs debate, the heavy domestication and editing of anime and how the opinions of fans, the changing marketplace and the effect of fansubs have all forced companies to rethink the way they translate. Beginnings Japanese anime started in the early 20th century, where the so called‘3 fathers of anime’ Ōten Shimokawa, Junichi Kōuchi and Seitaro Kitayama began to adapt and experiment with the animation techniques from the West1. Anime continued to evolve through the 1920s and 30s and was actively used during WW2 by the Japanese imperial government and military to produce propaganda films. However, it was the post-war period where the modern idea of anime really began to take shape. -
About Reaching Children Through Entertainment a Publication of Brunico Communications Inc.1996 - 2006
US$7.95 in the U.S. CA$8.95 in Canada 1 US$9.95 outside of Canada & the U.S. May 2006 ® About reaching children through entertainment A Publication of Brunico Communications Inc.1996 - 2006 www.stelorproductions.com NTED IN USPS CANADA Approved Polywrap AFSM 100 NUMBER 40050265 PRI 40050265 NUMBER CANADA POST AGREEMENT POST CANADA Redefi ning Trust In Internet Security.™ Approved by Parents. Loved by Kids. Protected by PiXkey.™ Stelor Productions © 2006 The Googles from Goo are a creation of Steven A. Silvers KKS3996.STELOR.inddS3996.STELOR.indd 1 44/26/06/26/06 88:42:04:42:04 PMPM HHOWOW WWILLILL YYOUOU MAKEMAKE TTHEHE BESTBEST UUSESE OOFF DDIGITALIGITAL TTRENDSRENDS AANDND GGROWROW YYOUROUR BBRANDRAND AACROSSCROSS EEMERGINGMERGING MMEDIAEDIA PPLATFORMS?LATFORMS? WHAT YOU NEED TO KNOW TO GROW YOUR KIDS BRAND ACROSS EMERGING MEDIA PLATFORMS SSPEAKERSPEAKERS IINCLUDE:NCLUDE: Jacqueline Moen Paul Marcum VP & GM, KOL GM, Youth Content AOL Yahoo! John Evershed Co-founder & CEO Larry Seidman Doug Murphy Mondo Media CEO EVP Business Development Dimensional Branding Group Nelvana Ltd. Paul Jelinek Robin Fisher Roffer Deron Triff VP, Digital Media Products CEO, Chief Creative Offi cer VP, Business Development Nickelodeon Big Fish Marketing, Inc Scholastic Media Presented by: The Must Attend Event for Execs Looking to Build Kids Entertainment Brands, Including: Supported by: • Brand / IP Managers • Marketers • Licensors • Content Producers / Distributors • Advertising & Promotion Agencies ™Brand Building in the Kids Digital Space title, tagline and logo are trademarks of, • Digital Media Executives and the event is produced by Brunico Marketing Inc. *$100 discount off full one-day conference rate of $750 by April 17, 2006. -
Oppdatert Liste Samarbeidspartnere 2015
OPPDATERT LISTE Baby Cow Productions Cannon Pictures SAMARBEIDSPARTNERE Bandai Visual Co. Ltd Captured Light Distribution LLC Banijay International Ltd Carey Films Ltd 2015/2016 Bankside Films Cargo Film & Releasing Bard Entertainment Carnaby Sales and Distribution Ltd 12 Yard Productions Bardel Distribution Carrere Group D.A. 2929 Entertainment LLC BBC Worldwide Cartoon Network 3DD Entertainment BBL Distribution Inc. Cartoon One 9 Story Enterprises BBP Music Publishing c/o Black Bear Caryn Mandabach Productions A&E Channel Home Video Pictures Casanova Multimedia Abduction Films Ltd Beacon Communications Cascade Films Pty Ltd Acacia Becker Group Ltd. Castle Hill Productions ACC Action Concept Cinema GmbH & Beijing Asian Union Culture and Media Cats and Docs SAS Co. KG Investment CCI Releasing ACI Bejuba Entertainment CDR Communications Acorn Group Bell Phillip Television Productions Inc. Celador Productions ACORN GROUP INC Benaroya Pictures Celestial Filmed Entertainment Ltd. Acorn Media Bend it Like Beckham Productions Celluloid Dreams Actaeon Films Bentley Productions Celsius Entertainment Action Concept Berlin Animation Film Gmbh Celsius Film Sales Action Concept Film und Best Film and Video Central Independent Television Stuntproduktion GmbH Best Picture Show Central Park Media Action Image GmbH & Co. KG Betty TV Channel 4 Learning Adness Entertainment Co. Ltd. Beyond International Ltd Chapter 2 Adult Swim Productions Big Bright House of Tunes Chatsworth Enterprises After Dark Films Big Idea Entertainment Children's Film And Television Ager Film Big Light Productions Foundation AIM Group LLC. Big Talk Productions Chorion Plc Akkord Film Produktion GmBH Billy Graham Evangelistic Association / Christian Television Association Alain Siritzky Productions World Wide Pictures Ciby 2000 Alameda Films Bio Channel Cineflix International Media Albachiara S.r.l. -
MARY PRITCHARD Assistant Picture Editor (310) 963-6635
MARY PRITCHARD Assistant Picture Editor [email protected] (310) 963-6635 12 MONKEYS SYFY [Episodic] Producers: Livia Hanich, Claudia Alves Editors: Bert Kish, Dan Downer, Andrew Thompson LOST YOUR MIND HBO [Music Video – Kendall Lake] Producer: Michael Hill Director: Simon Jayes Editor: Louise Innes Cosmos: National Geographic Channel / Fox Network [TV Series] A SpaceTime Odyssey Producers: Livia Hanich, Jason Clark Directors: Brannon Braga, Ann Druyan, Bill Pope Editors: John Duffy, Eric Lea, Michael O’Halloran THE KINGS OF SUMMER CBS Television Distribution [Feature] Producers: David S. Grant, Peter Molnar, Ryan Adams Notes: TV/Airline Version THE MECHANIC CBS Television Distribution [Feature] Producers: David S. Grant, Peter Molnar, Ryan Adams Notes: TV/Airline Version LAST EXORCISIM PART II CBS Television Distribution [Feature] Producers: David S. Grant, Peter Molnar, Ryan Adams Notes: TV/Airline Version SEVEN PSYCHOPATHS CBS Television Distribution [Feature] Producers: David S. Grant, Peter Molnar, Ryan Adams Notes: TV/Airline Version THE WORDS CBS Television Distribution [Feature] Producers: David S. Grant, Peter Molnar, Ryan Adams Notes: TV/Airline Version SALMON FISHING CBS Television Distribution [Feature] IN THE YEMEN Producers: David S. Grant, Ryan Adams, Peter Molnar Notes: TV/Airline Version BATTLESTAR GALACTICA NBC Universal Studios [Pilot] Blood & Chrome Producers: David Eick, Paul Leonard Director: Jonas Pate Editor: Eric Lea THE BACK-UP PLAN CBS Television Distribution [Feature] Producers: Ryan Adams, David S. Grant, Peter Molnar Notes: TV/Airline Version EXTRAORDINARY CBS Television Distribution [Feature] MEASURES Producers: Ryan Adams, David S. Grant, Peter Molnar Notes: TV/Airline Version FASTER CBS Television Distribution [Feature] Producers: Ryan Adams, David S. Grant, Peter Molnar Notes: TV/Airline Version HAWAII FIVE-0 CBS Television Distribution [Episodic] Producers: Ryan Adams, David S.