Libro De Comunicaciones Vii Congreso Internacional Ae-Ic
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Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
My Friend P2p
MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing. -
Raider of the Lost Art - What Kind of a Product Is Film?
Raider of the Lost Art - What Kind of a Product is Film? Marketing Master's thesis Niklas Rinne 2013 Department of Marketing Aalto University School of Business Powered by TCPDF (www.tcpdf.org) Abstract Purpose of this study Film is a complex product that can be used in many different ways. The age of the digitalization has affected not only the product itself, but the way we consume it as well. If once film could be seen as a magical experience, then nowadays it reminds more of a disposable product. New innovations give us the freedom of enjoying it whenever and wherever. My objective in this research is to reveal the current value of film. How do we perceive films nowadays, how do we watch them and in the end what kind of a product film is in 2013? Methodology The theoretical framework discussed the literature relating to postmodernism, consumer culture theory, hedonic consumption, and downloading. The empirical part of the study is of the qualitative manner. The long interviews (McCracken, 1988) were used as data collection for the study. The ten participants all had a different approach to film, some worked with film and some studied film. Through these discussions I found ten different perceptions of film and ways of using film. The discussions revealed not only interesting ideas and concepts about the format of art itself. The question “how we use film “eventually lead to a much more fascinating question “why is it that we use film in that specific way”… Findings Every time an individual puts a film on, he/she has a goal. -
Voddler Launches Liveshelf Global Video Streaming Service, Featuring Viewshare, Legal Sharing of Films
Voddler launches LiveShelf global video streaming service, featuring ViewShare, legal sharing of films Stockholm-based Voddler, the next-generation video service, today began its global roll-out of Voddler LiveShelf. This groundbreaking service connects viewers and content owners directly with each other, via an online LiveShelf, for video streaming to connected devices anywhere. It also allows users to invite their friends to watch the films they have on their LiveShelf, whether uploaded or purchased online, a feature named ViewShare. This makes Voddler the world’s first legal film sharing service and the first streaming service to offer premium content globally from the world’s leading content owners. Voddler LiveShelf is powered by VoddlerNet, Voddler’s patented and proprietary streaming solution, which has already been streaming movies to 1.2 million users across Scandinavia and Spain for the past few years. Voddler, the next-generation video platform and to date Scandinavia’s leading VOD-service, today began rolling out it global solution Voddler LiveShelf. The LiveShelf simplifies a fragmented and confusing home entertainment environment, allowing end-users to collect and watch their favorite content – both from online and offline sources – on their LiveShelf. Voddler’s patented streaming solution VoddlerNet makes every user’s LiveShelf accessible, with guaranteed streaming quality, on any connected device. - Today we launched the Voddler LiveShelf for global distribution. Content owners now have an unprecedented opportunity to stream their movies and series to consumers globally. Users decide which of these films to add to their individual LiveShelf by buying or renting them directly online. Users can also upload their own existing movie files. -
January–September 2020 Results
JANUARY–SEPTEMBER 2020 RESULTS 30 September 2020 Atresmedia's consolidated financial statements were prepared in accordance with International Financial Reporting Standards (IFRS), taking into account all mandatory accounting principles and rules and measurement bases, as well as the alternative treatments permitted by the legislation in this regard. In addition, information is disclosed on the individual performance of the Group’s two main lines of business: Audiovisual and Radio. 1 1. HIGHLIGHTS ....................................................................... 3 1.1 Milestones and key figures .............................................. 3 1.2 The economic climate and the market .............................. 4 2. ATRESMEDIA ....................................................................... 6 2.1 Consolidated Income Statement ...................................... 6 2.1.1 Net revenue ......................................................... 7 2.1.2 Operating expenses ............................................... 7 2.1.3 Operating earnings and margins ............................. 8 2.1.4 Profit before tax .................................................... 9 2.1.5 Consolidated profit for the period ............................ 9 2.2 Consolidated Balance Sheet .......................................... 10 2.3 Consolidated Cash Flow Statement ................................ 12 2.4 Share price ................................................................. 13 2.4.1 Atresmedia's shares ........................................... -
Quaderns Del CAC 42, Vol
42 QUADERNS DEL CAC Audiovisual OTT, nuevas fronteras y desafíos 2016 Vol. XIX - julio 2016 ISSN (electrónico): 2014-2242 / www.cac.cat QUADERNS DEL CAC 42, vol. XIX - julio 2016 Consejo editorial: Salvador Alsius (editor), Victòria Camps, Dolors Comas d’Argemir, Rafael Jorba, Elisenda Malaret, Santiago Ramentol, Joan Manuel Tresserras Dirección: Emili Prado Consejo de redacción: Sylvia Montilla (coordinadora general) y Carles Llorens (editor de Crítica de libros) Redacción: Imma Cabré, Davínia Ligero, Esther Rodríguez, Martí Petit y Judit Quaderns del CAC es una revista electrónica anual que se pu- López blica el mes de julio en catalán, castellano e inglés. Se ha edi- tado en papel en catalán desde el número 1 (año 1998) al Consejo asesor científico: número 35 (diciembre de 2010). Monica Ariño (Ofcom, Londres), Lluís Bonet (Universitat de Barcelona), Milly Buonanno (Università degli Studi di Roma “La La revista desea motivar el análisis y debate críticos sobre la Sapienza”), Enrique Bustamante (Universidad Complutense de cultura y los medios audiovisuales en el mundo contemporáneo. Madrid), Marc Carrillo (Universitat Pompeu Fabra, Barcelona), Editada por el Consejo del Audiovisual de Cataluña, pretende Divina Frau-Meigs (Université Paris 3-Sorbonne), Ángel García ser una plataforma de aproximación al campo de la comunica- Castillejo, Maria Jesús García Morales (Universitat Autònoma de ción y de la cultura audiovisual desde diferentes perspectivas Barcelona), François Jongen (Université Catholique de Louvain), disciplinarias, y con una -
INITIATING COVERAGE Lucisano Media Group S.P.A
OTTOBRE 14, 2014 INITIATING COVERAGE Lucisano Media Group S.p.A. (LMG) announced 1H2014 results, according to which the top-line grew by 10% yoy, from € 14.3mn in 1H2013 to € 15.7mn in 1H2014. 51% of revenues were generated from productions, 42% from movie exhibition (Stella Film) and the rest from content distribution. Having reached € 6.8mn EBITDA in the first half (with a 30% yoy increase), the company’s EBITDA margin improved slightly to 43%, from 42% in FY2013. LMG’s bottom-line was € 1.3mn in 1H2014, with a 1.5times yoy increase. These results are in line with our Kevin TEMPESTINI expectations. +39.02.83424007 [email protected] In 1H2014, Lucisano released two of its own motion picture productions, namely Matrimonio da Favola (in April) and Pane e Burlesque (in May), which together Füsun BEKTAŞ generated € 6.4mn revenues (theatrical as well as sale of rights, Pay TV and Free +39.02.83424008 TV revenues, DVD sales, tax credits and regional funds). In addition, the company [email protected] recorded other € 1.7mn of revenues in the production segment, which arrived as product placement revenues and internal tax credits earned from the films in the pipeline and from the sale of its own LMG content in the library. All in all, with € 8.1mn of turnover, production remained to be the top contributor (with 51%) to LMG’s net sales. LMG Relative Price Chart Stella Film, LMG’s 100% subsidiary active in the movie exhibition segment Volume Lucisano Media Group S.p.A. operating 55 screens around the country, generated € 6.5mn of sales (42% of the Ftse Aim Italia Index 5 top-line), which includes not only direct revenues from ticket sales but also 0 indirect revenues from services such as advertising and parking as well as -5 -4.40 commercial goods and food & beverage sales. -
Anders Sjöman Is Head of Communications at Swedish-Based Video-On-Demand Provider Voddler, Which He Joined in 2010
www-old.carseywolf.ucsb.edu Carsey-Wolf Center at UC Santa Barbara 13-17 minutes Anders Sjöman is head of communications at Swedish-based video-on-demand provider Voddler, which he joined in 2010. He has experience in public relations, as a researcher for the Harvard Business School in Paris, and as head of production for Englishtown.com, an online language school. MIP spoke with Sjöman in Stockholm from over 5500 miles away in our UC Santa Barbara offices where we asked him about the origins and growth of the streaming company Voddler, including its initial encounters with the major studios. Sjöman also shared important insights into the growth of video-on- demand services in Europe, bringing an important international dimension to debates about consumer desires, regulation, and policy. Origins of Voddler and Dealing with Studios Tell us about the origins of Voddler. As a company, Voddler was founded in 2006 but it was launched as a video-on-demand (VOD) service in the fall of 2009. It’s been fully operational since the summer of 2010. Like all good start-up stories, Voddler began with three guys in a basement. In our particular story, they were trying to figure out how to deliver large data files online. They were simply interested in how to do online distribution more efficiently. In practical terms they asked, “How could you make video streaming more efficient? Video is one of the largest data files out there. How can you do that more efficiently?” So they came up with an idea that we now use for our streaming. -
Estimating Displacement Rates of Copyrighted Content in the EU
Estimating displacement rates of copyrighted content in the EU Final Report [Written by Martin van der Ende, Joost Poort, Robert Haffner, Patrick de Bas, Anastasia Yagafarova, Sophie Rohlfs, Harry van Til] [May – 2015] EUROPEAN COMMISSION Directorate-General for Internal Market, Industry, Entrepreneurship and SMEs Unit 0.1 — Chief Economist Team Contact: Kamil Kiljanski E-mail: [email protected] European Commission B-1049 Brussels EUROPEAN COMMISSION Estimating displacement rates of copyrighted content in the EU Final Report Directorate-General for Internal Market, Industry, Entrepreneurship and SMEs Chief Economist Team 2014 EUR [number] EN Europe Direct is a service to help you find answers to your questions about the European Union. Freephone number (*): 00 800 6 7 8 9 10 11 (*) The information given is free, as are most calls (though some operators, phone boxes or hotels may charge you). LEGAL NOTICE This document has been prepared for the European Commission however it reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. More information on the European Union is available on the Internet (http://www.europa.eu). Luxembourg: Publications Office of the European Union, 2014 ISBN [number] doi:[number] © European Union, 2014 Reproduction is authorised provided the source is acknowledged. Printed in [Country] PRINTED ON ELEMENTAL CHLORINE-FREE BLEACHED PAPER (ECF) PRINTED ON TOTALLY CHLORINE-FREE BLEACHED PAPER (TCF) PRINTED ON RECYCLED PAPER PRINTED ON PROCESS CHLORINE-FREE RECYCLED PAPER (PCF) Image(s) © [artist's name + image #], Year. Source: [Fotolia.com] (unless otherwise specified) TABLE OF CONTENTS EXECUTIVE SUMMARY .................................................................................................. -
EUROPEAN COMMISSION Brussels, 30.5.2018 to The
EUROPEAN COMMISSION In the published version of this decision, some Brussels, 30.5.2018 information has been omitted pursuant to Article C(2018) 3569 final 17(2) of Council Regulation (EC) No 139/2004 concerning non-disclosure of business secrets and other confidential information. The omissions are PUBLIC VERSION shown thus […]. Where possible the information omitted has been replaced by ranges of figures or a general description. To the notifying Parties Subject: Case M.7000 – LIBERTY GLOBAL / ZIGGO Commission decision pursuant to Article 6(1)(b) in conjunction with Article 6(2) of Council Regulation No 139/20041 and Article 57 of the Agreement on the European Economic Area2 1. INTRODUCTION (1) On 14 March 2014, the European Commission received notification of a proposed concentration pursuant to Article 4 of Council Regulation (EC) No 139/2004 (the "Merger Regulation") by which Liberty Global plc (''Liberty Global", the United Kingdom, also the "Notifying Party"), acquired within the meaning of Article 3(1)(b) of the Merger Regulation sole control over Ziggo N.V. ("Ziggo", the Netherlands) by way of a public bid ("the Transaction") in order to form an entity which would take over the parties' respective activities in the Netherlands ("NewZiggo"). (2) On 10 October 2014, the Commission declared the Transaction compatible with the internal market subject to the fulfilment of certain conditions (the "Conditional Clearance Decision" or "the 2014 Decision"). (3) By judgment of 26 October 2017 (the "Judgment"), the General Court annulled the Commission's Conditional Clearance Decision on the ground that the Commission failed to state the reasons of its finding that the proposed merger would not lead to vertical anti-competitive effects on the possible market for 1 OJ L 24, 29.1.2004, p. -
Fragmentation of the Single Market for On-Line Video-On-Demand Services: Point of View of Content Providers
FRAGMENTATION OF THE SINGLE MARKET FOR ON-LINE VIDEO-ON-DEMAND SERVICES: POINT OF VIEW OF CONTENT PROVIDERS FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by Digital Agenda for Europe This study was carried out for the European Commission by iMinds (SMIT), Gaston Crommenlaan 8, 9050 GENT, Belgium Authors: Dr. Sophie De Vinck Dr. Heritiana Ranaivoson Dr. Ben Van Rompuy with the collaboration of Anca Birsan and Katharina Hölck Internal identification Contract number: 30-CE-0540861/00-45 SMART number: 2012/0027 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission. The Commission does not guarantee the accuracy of the data included in this study. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein. ISBN 978-92-79-38400-4 DOI 10.2759/49194 © European Union, 2014. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. Table of Contents Executive Summary ................................................................................................................................. 1 1.1 Purpose, scope and method ................................................................................................... -
El Caso De Atresplayer Premium
Martínez Bataller, Lorena IDENTIDAD E IMAGEN A TRAVÉS DE LA FICCIÓN: EL CASO DE ATRESPLAYER PREMIUM Junio de 2021 Fuentes Rodríguez, Catalina Martínez Bataller, Lorena IDENTIDAD E IMAGEN A TRAVÉS DE LA FICCIÓN: EL CASO DE ATRESPLAYER PREMIUM Junio de 2021 Fuentes Rodríguez, Catalina 2 IDENTIDAD E IMAGEN A TRAVÉS DE LA FICCIÓN: EL CASO DE ATRESPLAYER PREMIUM Autora: Lorena Martínez Bataller Tutora: Catalina Fuentes Rodríguez Máster en Comunicación Institucional y Política Curso 2019-2020 3 ÍNDICE 1. Resumen .................................................................................................................... 6 2. Introducción .............................................................................................................. 7 3. Objetivos y metodología ........................................................................................... 9 4. Marco teórico. ......................................................................................................... 10 5. Hipótesis .................................................................................................................. 17 6. La marca Atresplayer, creación y transformación. ................................................. 18 6.1 El nacimiento de Atresplayer y un nuevo modelo de consumo audiovisual. .. 18 6.2 Renovación de la plataforma: Atresplayer Premium. ...................................... 20 7. El nuevo sello de Atresmedia. ................................................................................. 21 7.1 Estudio del discurso