DOCSLIB.ORG

MANAGEMENT Wantt to Tax It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION MARCH/APRIL 2012 VOL. 32 NO. 2 $9.75 In This Issue: MIP Expectations NATPE’s CEO Quest 2012 TV Predictions Istanbul TV Show ® www.videoage.org DV To Add Millions Of Blind L.A. Screenings: Comediennes, People To Video Consumption Brit-Tested Shows, Wacky Families BY DOM SERAFINI e here at VideoAge keep (and international buyers) too. n the U.K., a recently aired BBC parody poked fun at the ITV costume drama a close eye on the TV Wacky families (à la Modern Family) Downton Abbey because of its very long scenes with no dialogue in which pilots, way before the seem to be taking center stage on the characters communicate simply by exchanging glares. Now, imagine a blind U.S. networks’ new comedy front (e.g. ABC’s How to Live person trying to follow along without a voice describing those mostly silent series are announced at With Your Parents for the Rest of Your Downton scenes. the May Upfronts. (Continued on Page 36) In the U.K., two So far, million people have sight Wseveral trends have emerged Iloss. There are an estimated amongst the nearly 90 PR Biz: Between a Rock 30 million adult Americans, or pilots (a few more than 9.5 percent of the population, last year), which have and a Hard Place who have trouble seeing or been commissioned by the BY LUCY COHEN BLATTER are blind. Depending on the networks for the 2012-2013 degree of vision impairment, season. he thing about publicists is that, though they are the number could be as high While the usual cop important to the editorial mix of any publication, as 54 million (according to series, legal dramas and they are very rarely seen or heard. Let’s change Turner Broadcasting research). supernatural series are well Tthat and give them their proverbial 15 minutes of In Canada, people with seeing represented on the nets’ fame by turning the spotlight on them. disabilities represent 4.5 percent rosters, there are plenty of Knowing that there are different roles for PR other options for viewers (Continued on Page 38) (Continued on Page 34) States Are Banking On Tax CHARLIE SHEEN Downloads here are people who want to control the Internet, others who seek to regulate it, some who would like to restrict it, many who want it to remain Anger freewheeling and anarchic, and also those who simply MANAGEMENT wantT to tax it. The problems are well ...because people don’t know how to self-medicate known: Privacy (e.g., the “Do not track” issue), pirating, net neutrality, spectrum scarcity, etc. And each problem has its own set of issues, like “fair use,” for unauthorized downloads; “targeting advertising” for the privacy issue; “bandwidth-hogging,” for net neutrality, and so on and so forth ad infinitum, with Internet tax issues said to be affecting interstate commerce as well. Now considering, for example, that downloads will soon surpass CD and DVD sales and rentals, what does this mean for the entertainment industry? True to the saying, only death and taxes are sure things, so it’s only a matter of time until taxes hit the Internet sector big time, and who’s better than “Uncle Sam” (the U.S. government) at finding Visit us at Booth RB.40 a way to milk the new cow? (Continued on Page 32) WORLDWIDE DISTRIBUTION Annons_FINAL.indd 1 2012-03-08 19.52 ONTENTSVIDEO AGE • No.2 • March/April 201 2 Cover stories: 16. DISCOP in Istanbul shows that Described video could add millions neither snow nor rain can slow of blind users to television consumption down the MECANA TV engine L.A. Screenings: Expect comediennes, Brit-tested shows and wacky families. But a large number of pilots will assure C a good mix The PR biz: Between a hard rock (client) Children’s Television. Kids TV experts and a harder place (media). A look behind 18. like to summit at Kidscreen in New York the pitch In the U.S., states are banking on tax downloads. Other countries will undoubtedly follow suit 20. Predictions and projections: What more to expect for the TV biz in 2012 6. World: Italy, China, U.S., Poland, Canada 26. A Tribute: NATPE ends Rick Feldman era at the dawn of its 50th anniversary 10. Tech News: 3D shows on 2D, IPTV eliminates PVR, DVB-2T, Spectrum shortage, Eutelsat’s 4,000 mark 28. Product placement. Unloved and distrusted, it gets a shaky reception in Europe 12. Book Review (Review). U.K. TV series makes Americans class-(un)conscious 30. Convergence and morality. If Internet TV feels like broadcast TV, rules should apply, but more lightly 14. MIP-TV preview. New dates add uncertainty to an already stressed- 40. Conference, travel news and calendar of events out market 42. My2¢. The Emmy must differentiate between broadcast and pay-TV China, the U.S. studios are limited in terms of the number of films they Poland Denies can distribute in the country due to a Catholic DTT quota system. The country is expected to be the world’s largest cinema market oland’s National Broadcasting within the next 10 years. Council (KRRiT) rejected These latest restrictions come as an application from the Lux the Chinese government prepares to Veritatis foundation, which transfer power to a new generation of owns Catholic TV channel leaders this fall. TV Trwam, to obtain a China’s Expansion, of China is not permitted to screen In other news, two state-owned digital broadcasting (DTT) between 7p.m. and 10p.m. Chinese media groups (Shanghai Plicense for the channel. Restrictions For TV In a statement, the government’s Media Group and China Media The Polish Episcopate has demanded State Administration of Radio, Film Capital) and DreamWorks Animation to know why TV Trwam was denied n China, the ruling Communist and Television declared that foreign in the U.S. announced a joint venture. the license. Additionally, The Helsinki Party has banned Chinese entertainment “cannot take up more Called Oriental DreamWorks, the joint Foundation for Human Rights broadcasters from airing foreign than 25 percent of total programming venture will be located in Shanghai asked that KRRiT provide detailed programs during primetime in an time each day.” Additionally, domestic and will develop original animated and information about how the Council effort to keep international shows channels in China must limit the live-action film and TV content, as well decides to award broadcasting licenses from gaining greater influence number of shows broadcast from any as live stage productions. The deal was for the operation of multiplex digital and “threatening the socialistic one country or region. announced at an economic forum held terrestrial broadcasting services. Ivalues” the Party champions. As a On top of that, despite the fact recently in Los Angeles, which Chinese A KRRiT member reportedly stated result, programming produced outside that U.S. film and TV are popular in Vice President Xi Jinping attended. that providing a digital broadcasting license to TV Trwam would not be financially beneficial for the multiplex. However, it has also been reported that digital broadcasting licenses have been given to TV stations with fewer ALWAYS financial assets than TV Trwam. eOne Eyeing Alliance Films ready anadian production and distribution company Entertainment One (eOne) has reportedly been linked to a bid for another Canadian company, Alliance Films. Previously, proposals had Cbeen made by other companies for parts of Entertainment One, but because the 55x60, 11x120 2x60 company did not feel those proposals adequately reflected the value of its business, it is no longer considering them. In September, Entertainment One hired Credit Suisse and JP Morgan to carry out a strategic review of eOne, and their services have been retained. eOne distributes the Twilight films in 13x30 10x30 the U.K., while Alliance invests in films such as The King’s Speech. The investment division of the Quebec government and the private equity arm of Goldman Sachs, which owns approximately two thirds of Alliance, put Alliance Films up for sale in January. 400x30 14x30 30 Minute Weekly Carlo Sartori actionlifestylereality 1946-2012 entertainmentcrime arlo Sartori, the former Scan the code Secretary General of PrixItalia with your phone to see –– the TV festival founded and all of our new organized by RAI, the Italian programs now! state broadcaster –– died last MIPTV Booth # R31.17 February in Rome. He was 65 Contact [email protected] to schedule a meeting DEVELOPMENT • DISTRIBUTION • REPRESENTATION years old and suffered from a Visit cableready.net to see full episodes of our entire program library. +1 203-855-7979 | [email protected] Cdegenerative ailment. Sartori, one of RAI’s top executives (Continued on Page 8) 6 VIDEO • AGE M ARCH /A PRIL 2 0 1 2 A DREAM SIGNED EGYPTIAN OASES (DOCUMENTARIES) 6 x 12’ - 1 x 35’ ROGER FEDERER CASH(DOCUMENTARIES) 25’ Programs SinestesiaSinestesia A film by Erik Bernasconi "Sinestesia" chronicles the vicissitudes of four young adults in two moments of their lives which are in turn linked to two dramatic episodes three years apart. The intervening years see the characters confronted by the usual joys and difficulties of everyday life. However, they also find themselves having to react to a destiny which, every now and again, places a cross- roads in our way. Fiction - 2010 - 1h30’ 16/9 High definition Coproduction: Imagofilm - RSI Radiotelevisione svizzera Our complete catalogue on rsi.ch/sales Documentaries Swiss Television Fiction Sales Office Children CH 6903 Lugano Entertainment Switzerland Tel. +41 91 803 54 82 Classical Music Fax +41 91 803 57 25 Jazz - Pop - Rock salesoffi[email protected] Americans delivered during a NATPE with Fox Sports Southwest valued at speech became famous: “Yes, [Italy Local TV Deals For $3 billion that includes equity in the produces] trash-TV, but it’s our own Sports Rights network, escalator clauses and profit trash, there is no need to send yours.” participation.
Recommended publications
  • ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media

    ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media

    ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D.
  • Atti Parlamentari

    Atti Parlamentari

    Camera dei Deputati — 689 — Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 114 Mappa dell’offerta editoriale Digitale terrestre e Satellitare Web (www.rai.tv) 32 37 32 32 37 32 33 33 37 (a) (a) 34 34 24 (a) 34 34 37 34 34 (a) 34 (a) 34 35 (a) 35 35 35 35 35 35 35 35 37 37 22 Euro News (a) Tali canali su digitale satellitare sono visibili solo mediante la piattaforma Tivù Sat. Camera dei Deputati — 690 — Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 114 (b) Radio Informazione (c) Offerta internazionale 43 36 22 43 36 22 Euro News 43 36 Internet 44 37 23 44 37 23 44 37 44 37 Cinema Radio su Web (www.rai.tv) 43 38 43 43 Editoria 43 52 44 44 44 44 (b) I canali radio sono fruibili anche tramite digitale terrestre e satellitare. (c) L’informazione televisiva e radiofonica è disponibile su tutte le piattaforme trasmissive. Camera dei Deputati — 691 — Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 114 Area editoriale TV 28 Performance 36 Testate 32 Canali generalisti 36 Tg1 36 Tg2 32 Rai 1 36 Tg3 32 Rai 2 37 TGR 32 Rai 3 37 Rai Parlamento 37 Televideo 34 Canali specializzati 37 RaiNews 37 Rai Sport 34 Rai 4 34 Rai 5 38 Generi e Supporto TV 34 Rai Premium 34 Rai Movie 38 Rai Cinema 35 Rai YoYo 38 Rai Fiction 35 Rai Gulp 39 Rai Teche 35 Rai Educational 35 Rai Storia 35 Rai Scuola PAGINA BIANCA Camera dei Deputati — 693 — Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC.
  • C Ntent 17-30 April 2017 L

    C Ntent 17-30 April 2017 L

    C NTENT 17-30 April 2017 www.contentasia.tv l www.contentasiasummit.com Telkomsel, CatchPlay roll out in Indonesia 2GB data sweetener for SVOD movie package Indonesian telco Telkomsel has added Taiwan’s CatchPlay SVOD to its Video- MAX entertainment platform, bundling movies with a 2GB data sweetener and the promise of “smooth streaming” on Telkomsel’s 4G mobile network. The package costs Rp66,000/US$5 a month. CatchPlay has also acquired exclusive digital rights for award winning Indo- nesian movie, Solo, Solitude, which will stream on the platform in May. In addition to the monthly subscription option, a multi-layered pricing strategy offers consumers in Indonesia free mem- bership and one free CatchPlay movie a month, with a pay-per-view option for lo- cal and library titles at Rp19,500/US$1.50 each or new releases for Rp29,500/ US$2.20 each. CatchPlay CEO, Daphne Yang, de- scribed Indonesia as a market of “huge potential in terms of individuals who use the internet for video streaming”. CatchPlay titles include La La Land, Lion and Lego: Batman Movie. New titles this month are Collateral Beauty, starring Will Smith; Sing with Matthew McConaughey and Reese Witherspoon; and Fences with Denzel Washington and Viola Davis. CatchPlay also has a distribution deal with Indihome in Indonesia. The platform is available in Taiwan, where it launched in 2007, Singapore and Indonesia. www.contentasia.tv C NTENTASIA 17-30 April 2017 Page 2. Korea’s JTBC GMA bets on love triangles in new drama breaks new ground 3 wives, 3 husbands, 3 mistresses drive day-time hopes with Netflix 21 April global debut Philippines’ broadcaster GMA Network global linear network GMA Pinoy TV on has premiered its new afternoon drama, 18 April.
  • Contatti Netti Mensili 2013

    Contatti Netti Mensili 2013

    Totale emittenti: 182 CONTATTI NETTI MENSILI 2013 EMITTENTE REGIONI GEN FEB MAR APR MAG GIU LUG AGO SETT OTT NOV DIC ANNO RAI 1 55,062,166 54,704,263 53,920,313 53,838,278 54,229,758 54,051,043 52,829,658 47,949,804 51,167,411 52,236,434 51,057,465 51,738,969 RAI 2 53,781,025 52,520,025 52,583,971 52,610,410 53,410,285 51,597,792 50,748,338 45,424,263 49,271,060 51,054,001 49,671,964 50,623,333 RAI 3 52,174,718 51,696,089 51,227,127 51,487,123 52,414,273 50,624,765 49,070,149 44,091,960 47,732,962 49,735,274 48,206,401 49,051,120 CANALE 5 53,884,592 53,458,326 53,079,926 53,149,876 53,805,021 52,266,252 51,948,203 46,916,170 50,021,140 52,239,895 51,001,520 51,468,994 ITALIA 1 52,645,669 52,093,699 51,721,005 51,529,967 52,677,405 51,528,392 50,456,735 45,709,420 49,356,445 51,432,414 50,108,748 51,073,901 RETE 4 49,910,153 48,838,118 48,512,644 48,425,233 49,402,163 47,857,984 47,195,878 42,045,055 45,402,457 47,782,567 46,062,038 46,519,185 LA SETTE 45,103,744 43,804,638 42,218,131 42,521,516 43,647,072 41,848,536 41,189,570 35,173,325 37,738,968 41,479,809 38,762,937 40,220,534 ODEON 24 LOCALE 1,530,606 1,135,735 1,266,682 ODEON 24 NAZIONALE 1,336,311 1,471,580 1,383,297 ODEON 24 TOTALE 2,604,491 2,284,668 2,323,057 CANALE ITALIA 83 4,801,854 3,820,454 4,031,840 3,779,543 4,487,039 3,843,150 4,187,325 3,557,784 3,578,543 4,269,204 3,532,443 3,672,745 7 GOLD LOCALE 12,276,250 12,065,378 11,370,188 11,246,582 12,085,347 9,383,198 9,938,594 9,771,243 10,773,972 12,364,539 11,086,980 11,707,026 7 GOLD TOTALE 12,276,250 12,065,378 11,370,188
  • Annex 7 the Future of Public Service Broadcasting a Deliberative

    Annex 7 the Future of Public Service Broadcasting a Deliberative

    The future of Public Service Broadcasting A deliberative research report for Ofcom prepared by Opinion Leader August 2008 Contents Page 1. Executive summary 3 2. Introduction 8 2.1 Background to the research 8 2.2 Aims and objectives of the research 9 2.3 The approach 10 2.4 Notes to reading this report 15 3. Main findings 16 3.1 Initial views of PSB and reactions to the reasons for change 16 3.2 How participants evaluate the models 22 3.3 Responses to the models 29 3.3.1 Summary of responses 29 3.3.2 Responses to ‘do nothing’ 35 3.3.3 Responses to Model 1: Evolution 39 3.3.4 Responses to Model 2: BBC only 44 3.3.5 Responses to Model 3: BBC and Channel 4 48 3.3.6 Responses to Model 4: BBC plus competitive funding 53 3.4 Suggested alternative models 58 3.5 Final model selection 60 3.6 Views of the funding options 63 4. Summary 72 5. Appendices 74 Opinion Leader 2 1. Executive summary 1.1 Introduction Ofcom is the independent regulator for the television, radio and telecommunications industries. Ofcom has a duty to assess the designated public service broadcasters1 (PSBs), taken together, in terms of their delivery of the public service purposes set out in the 2003 Communications Act and to make recommendations with a view to maintaining and strengthening the quality of public service broadcasting in the future. As part of this duty, Ofcom is in the process of undertaking its second Public Service Broadcasting (PSB) Review which is due to complete in early 20092.
  • DISCOVERY ACQUISISCE SWITCHOVER MEDIA Nasce Il Terzo Editore Televisivo Italiano Per Audience Share Complessiva

    DISCOVERY ACQUISISCE SWITCHOVER MEDIA Nasce Il Terzo Editore Televisivo Italiano Per Audience Share Complessiva

    DISCOVERY ACQUISISCE SWITCHOVER MEDIA Nasce il terzo editore televisivo italiano per audience share complessiva Milano, 14 gennaio 2013 –Discovery ha acquisito il 100% di Switchover Media, l’editore televisivo italiano proprietario di quattro canali televisivi gratuiti (GIALLO, FOCUS, K2 e FRISBEE) e di un canale a pagamento (GXT). Con questa operazione, Discovery diventa il terzo editore televisivo italiano in termini di audience share complessiva. “L’Italia è uno dei mercati principali per Discovery e la chiave del nostro successo negli ultimi due anni è stata lo sviluppo di una strategia di canali free a fronte della grande crescita del digitale terrestre free in Italia” ha affermato Dee Forbes, Presidente e Managing Director di Discovery Networks Western Europe. “L’acquisizione di Switchover Media amplia ulteriormente la nostra presenza nel digitale terrestre free e diversifica il nostro portafoglio, che oggi include anche una programmazione dedicata al target kids e una dedicata alle serie crime, che tanto successo hanno avuto sia in termini di pubblico, che di raccolta pubblicitaria”. Francesco Nespega, fondatore ed ex azionista di controllo di Switchover Media ha dichiarato: “Negli ultimi tre anni ho avuto il piacere e l’onore di guidare un team straordinario, che con passione e competenza è riuscito a sfruttare le nuove opportunità offerte dal digitale terrestre per sviluppare canali free. Sono certo che un leader internazionale del mercato media quale è Discovery, con i suoi contenuti e risorse, sarà in grado di accrescere ulteriormente il potenziale dei canali che abbiamo ideato e realizzato”. Con l’acquisizione di Switchover Media, che ha sede a Roma, Discovery giunge a gestire in Italia sei canali free e sei a pagamento.
  • Pluto TV Expands Launch on Comcast Platforms; Now Available Via Xfinity X1 and Xfinity Flex

    Pluto TV Expands Launch on Comcast Platforms; Now Available Via Xfinity X1 and Xfinity Flex

    Pluto TV Expands Launch on Comcast Platforms; Now Available via Xfinity X1 and Xfinity Flex June 13, 2019 The Leading Free Streaming Television Service in the U.S Debuts 100+ Live and Original Channels and Thousands of Iconic Movie and Television Titles to Xfinity X1 Customers LOS ANGELES--(BUSINESS WIRE)--Jun. 13, 2019-- Pluto TV, the leading free streaming television platform in the U.S., today announced that it has launched on Comcast’s Xfinity X1. Pluto TV has already been made available to Comcast’s Internet-only customers who add the new Xfinity Flex service. Today’s launch expands Pluto TV’s reach to millions more Comcast customers, bringing them a whole new world of entertainment viewing options, accessible over the Internet via their X1 set-top boxes. Pluto TV delivers a free, premium, lean-back streaming experience, featuring over 100 live and curated channels in partnership with major TV networks, movie studios, publishers, and digital media companies. “The launch of Pluto TV on Xfinity X1 is a pivotal moment for Pluto TV, expanding our reach to a whole new audience in search of free streaming entertainment,” said Tom Ryan, CEO and Co-Founder of Pluto TV. “Pluto TV is the perfect complement to the X1 platform, delivering a rich lineup of original live channels and on-demand movies and TV shows to Comcast’s customers right where they enjoy the rest of their entertainment experience.” Pluto TV allows users to easily navigate programming to find familiar favorites or discover something entirely new. With over 150 premium content partners, Pluto TV crafts 24/7 live programming with channels that are curated thematically to cover a wide range of genres and categories.
  • Video 108 Media Corp 9 Story A&E Networks A24 All Channel Films

    Video 108 Media Corp 9 Story A&E Networks A24 All Channel Films

    Video 108 Media Corp 9 Story A&E Networks A24 All Channel Films Alliance Entertainment American Cinema Inspires American Public Television Ammo Content Astrolab Motion Bayview Entertainment BBC Bell Marker Bennett-Watt Entertainment BidSlate Bleecker Street Media Blue Fox Entertainment Blue Ridge Holdings Blue Socks Media BluEvo Bold and the Beautiful Brain Power Studio Breaking Glass BroadGreen Caracol CBC Cheng Cheng Films Christiano Film Group Cinedigm Cinedigm Canada Cinema Libre Studio CJ Entertainment Collective Eye Films Comedy Dynamics Content Media Corp Culver Digital Distribution DBM Films Deep C Digital DHX Media (Cookie Jar) Digital Media Rights Dino Lingo Disney Studios Distrib Films US Dreamscape Media Echelon Studios Eco Dox Education 2000 Electric Entertainment Engine 15 eOne Films Canada Epic Pictures Epoch Entertainment Equator Creative Media Everyday ASL Productions Fashion News World Inc Film Buff Film Chest Film Ideas Film Movement Film UA Group FilmRise Filmworks Entertainment First Run Features Fit for Life Freestyle Digital Media Gaiam Giant Interactive Global Genesis Group Global Media Globe Edutainment GoDigital Inc. Good Deed Entertainment GPC Films Grasshopper Films Gravitas Ventures Green Apple Green Planet Films Growing Minds Gunpowder & Sky Distribution HG Distribution Icarus Films IMUSTI INC Inception Media Group Indie Rights Indigenius Intelecom Janson Media Juice International KDMG Kew Media Group KimStim Kino Lorber Kinonation Koan Inc. Language Tree Legend Films Lego Leomark Studios Level 33 Entertainment
  • October 2015 in Partnership with in Partnership With

    October 2015 in Partnership with in Partnership With

    October 2015 In partnership with In partnership with pOFC DTVE CIA Oct15.indd 1 25/09/2015 17:00 SNI2175_SNI-MIPCOMpXX DTVE CIA Oct15.indd 2015-Trade 1 Ads_DigitalTVEurope_216mmx303mm_1.indd 1 11/09/20159/9/15 4:59 17:56 PM Digital TV Europe October 2015 October 2015 Contents In partnership with In partnership with pOFC DTVE CIA Oct15.indd 1 25/09/2015 17:00 4K Initiative of the Year 4 Cloud TV Innovation of the Year 8 Social TV Innovation of the Year 12 Industry Innovation of the Year 14 Best New Channel Launch 16 MCN of the Year 18 Best International TV Networks Group 20 Channel of the Year 22 TV Technology Award (content discovery) 24 TV Technology Award (second-screen experience) 28 TV Technology Award (service-enabling technology) 32 Multiscreen TV Award 36 Pay TV Service of the Year 38 Best Content Distributor 42 International Production Company of the Year 44 Best Series Launch of the Year 46 Champagne Multiscreen TV Award Social TV Innovation of the Associate Sponsors Reception Sponsor Sponsor Year Category Sponsor EUROPE EUROPE p01 Contents DTVE CIA Oct15v2st.indd 1 25/09/2015 21:13 This month > Editor’s note Digital TV Europe October 2015 Issue no 321 Rewarding initiative Published By: Informa Telecoms & Media Maple House 149 Tottenham Court Road Content Innovation Awards is a new initiative from Digital TV London W1T 7AD The Europe in partnership with our sister publication Television Busi- Tel: +44 (0) 20 7017 5000 ness International (TBI), that is designed to celebrate some of the great innova- Fax: +44 (0) 20 7017 4953 tions from content providers, distributors and technology companies that are Website: www.digitaltveurope.net helping transform the way we produce, distribute and consume TV.
  • REPORT TV TARGET TOTALE INDIVIDUI 4+ Marzo 2013 Ascoltatori Medi (In ‘000)

    REPORT TV TARGET TOTALE INDIVIDUI 4+ Marzo 2013 Ascoltatori Medi (In ‘000)

    REPORT TV TARGET TOTALE INDIVIDUI 4+ Marzo 2013 Ascoltatori medi (in ‘000) totale GIORNO PRIME TIME 29.023 28.659 28.377 30.000 30.000 27.253 25.000 25.000 20.000 20.000 11.675 15.000 10.536 11.282 10.863 15.000 10.000 10.000 5.000 5.000 0 0 2010 2011 2012 2013 2010 2011 2012 2013 PENETRAZIONE % DELLA TELEVISIONE PER TARGET (fatto 100 il totale target) TOTALE GIORNO PRIME TIME TARGET 2010 2011 2012 2013 TARGET 2010 2011 2012 2013 Bambini 4-14 11,15% 10,91% 10,23% 11,02% Bambini 4-14 33,03% 32,37% 31,28% 32,34% Giovani 15-34 11,13% 12,13% 11,59% 12,03% Giovani 15-34 28,51% 30,91% 29,67% 30,17% Target commerciale 15-64 16,07% 17,27% 16,52% 17,52% Target commerciale 15-64 42,24% 44,57% 43,84% 44,73% R.A. 22,73% 24,36% 23,14% 24,79% R.A. 56,06% 58,88% 57,52% 58,69% COMPOSIZIONE % DELL’ASCOLTO TELEVISIVO PER TARGET (fatto 100 il totale ascolto) TOTALE GIORNO PRIME TIME TARGET 2010 2011 2012 2013 TARGET 2010 2011 2012 2013 Bambini 4-14 6,67% 6,12% 6,00% 6,04% Bambini 4-14 7,65% 7,17% 7,05% 7,14% Giovani 15-34 15,37% 15,48% 15,15% 14,37% Giovani 15-34 15,24% 15,54% 14,83% 14,46% Target commerciale 15-64 61,60% 62,14% 62,02% 61,21% Target commerciale 15-64 62,76% 63,31% 63,07% 62,86% R.A.
  • New Home of the Olympic Games

    New Home of the Olympic Games

    A Quarterly Publication of Discovery Communications Volume 10, Number 2, August 2015 NEW HOME OF THE OLYMPIC GAMES IN EUROPE 03 05 10 SHARK WEEK Returns Q&A with Eurosport CEO Peter Hutton Discovery Impact A MESSAGE FROM 2015 SHARK WEEK BRINGS DAVID ZASLAV HIGHEST-EVER RATINGS Television’s longest running and most anticipated summer event, SHARK WEEK, returned to Discovery Channel on Sunday, July 5, and The Most Wonderful Week of the Year was bigger and better than ever before. Airing Discovery’s strong start to the year This comprehensive renewal ensures a total of 19 hours of primetime shark programming – the most in its 28-year continued in the second quarter as we carriage of our U.S. network portfolio history – SHARK WEEK 2015 was the highest-rated SHARK WEEK to date saw steady growth across our global across all Xfinity platforms, including TV among P25-54 in Prime as well as key women demos, W25-54 and W18-49. portfolio of brands and businesses. Everywhere rights, for years to come. Discovery Channel ranked as the #1 cable network for the week, and coupled Propelled from a strong second quarter It demonstrates that distributors and with the strong debut of NAKED AND AFRAID XL on July 12, earned its most- into a momentous start to the third audiences continue to place great value watched week in history among P25-54. quarter, I am more confident than ever in on our content and brands. Discovery’s future. Discovery’s long-standing commitment In June we signed a historic deal with and track record of developing globally the IOC for the European TV and appealing, world-class content and IP and multiplatform media rights to broadcast maximizing its value across platforms DISCOVERY AND COMCAST RENEW four Olympic Games from 2018 to 2024.
  • A European Comparison of Innovation Policies to Trigger Innovation in Journalism and News Media

    A European Comparison of Innovation Policies to Trigger Innovation in Journalism and News Media

    A European comparison of innovation policies to trigger innovation in journalism and news media Prof. Dr. Hans van Kranenburg (editor) 1 A European comparison of innovation policies to trigger innovation in journalism and news media Commissioned and funded by Het Stimuleringsfonds voor de Journalistiek Written & Edited by Prof. dr. Hans van Kranenburg Radboud University Nijmegen Institute for Management Research Nijmegen School of Management The Netherlands Issued January 2015 © Radboud University & Het Stimuleringsfonds voor de Journalistiek 2 Content Foreword 4 1. Introduction 6 2. Market Structure and Innovation Policies in Belgium 12 3. Market Structure and Innovation Policies in Finland 20 4. Market Structure and Innovation Policies in Germany 33 5. Market Structure and Innovation Policies in Italy 43 6. Market Structure and Innovation Policies in Portugal 54 7. Market Structure and Innovation Policies in Spain 65 8. Market Structure and Innovation Policies in Switzerland 80 9. Market Structure and Innovation Policies in the Netherlands 90 10. Market Structure and Innovation Policies in the 100 United Kingdom 11. Summary and Best Practices 107 Appendix Concentration Measures 117 3 Foreword In the last decade, the Netherlands, like the rest of Europe, has witnessed a transformation in the news media landscape. New techniques, new approaches, new technologies, and new competitors have upset the old order and changed the rules of the game. Policies have been established and implemented by governments, institutions and companies to cope with the developments, the new demands and requirements. More and more countries have started to formulate and implement policies that support innovation. The Dutch government has also developed a policy to stimulate innovation in journalism and news media.