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Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. in Re
Electronically Filed Docket: 14-CRB-0010-CD/SD (2010-2013) Filing Date: 12/29/2017 03:37:55 PM EST Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS 2010-2013 CABLE ROYALTY YEARS VOLUME I OF II WRITTEN TESTIMONY AND EXHIBITS Gregory O. Olaniran D.C. Bar No. 455784 Lucy Holmes Plovnick D.C. Bar No. 488752 Alesha M. Dominique D.C. Bar No. 990311 Mitchell Silberberg & Knupp LLP 1818 N Street NW, 8th Floor Washington, DC 20036 (202) 355-7917 (Telephone) (202) 355-7887 (Facsimile) [email protected] [email protected] [email protected] Attorneys for MPAA-Represented Program Suppliers December 29, 2017 Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF MPAA-REPRESENTED PROGRAM SUPPLIERS FOR 2010-2013 CABLE ROYALTY YEARS The Motion Picture Association of America, Inc. (“MPAA”), its member companies and other producers and/or distributors of syndicated series, movies, specials, and non-team sports broadcast by television stations who have agreed to representation by MPAA (“MPAA-represented Program Suppliers”),1 in accordance with the procedural schedule set forth in Appendix A to the December 22, 2017 Order Consolidating Proceedings And Reinstating Case Schedule issued by the Copyright Royalty Judges (“Judges”), hereby submit their Written Direct Statement Regarding Distribution Methodologies (“WDS-D”) for the 2010-2013 cable royalty years2 in the consolidated 1 Lists of MPAA-represented Program Suppliers for each of the cable royalty years at issue in this consolidated proceeding are included as Appendix A to the Written Direct Testimony of Jane Saunders. -
The Mexican Licensing Market Heats up P34 Small Toycos up Their Licensing Game
The Mexican licensing Small toycos up their Licensing Show—The state of US market heats up p34 licensing game p38 retail and its impact on licensing p48 engaging the global children’s entertainment industry JUNE 2015 US$7.95 in the U.S. CA$8.95 in Canada US$9.95 outside of & the U.S. in the U.S. US$7.95 CANADA POST AGREEMENT NUMBER 40050265 PRINTED IN CANADA USPS AFSM 100 Approved Polywrap CANADA POST AGREEMENT NUMBER 40050265 PRINTED IN USPS AFSM 100 Approved A publication of Brunico Communications Ltd. KS.25944.BigTent_soldCover.indd 1 2015-05-26 3:50 PM KS.26435.Dasym.indd 2 2015-05-25 12:58 PM engaging the global children’s entertainment industry JUNE 2015 The New Dogs Town in AwesomenessTV’s Jiff joins pack of IPs debuting in Vegas bli i f i i i d 003KS_June15Cover.indd 3 2015-05-26 2:09 PM Who says you can’t be totally awesome? Who says you can’t make magic or fi nd true love? Who says you can’t stand out in a crowd? Who says you can’t move mountains or fl y in the face of convention? Who says you can’t defend the universe? Who says you can’t wear your hair up? Who says you can’t be a misfit and a hero? Who says you can’t be curious? KS.26376.Dreamworks.inddDRM15012 Kidscreen Ad 16.75x10.875 4 LIMA.indd 1 2015-05-25 1:01 PM 5/21/15 10:45 AM The dream is everything. -
Corporate Diversity Report 2011
Via Access Key March 15, 2012 Mr. John Traversy Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2 Dear Mr. Traversy: Re: Annual Report on Diversity, 2011 1. Corus Entertainment Inc. (“Corus”) is pleased to submit its Annual Report on Diversity in Radio for 2011 (the “Report”). This report demonstrates Corus’ ongoing commitment to reflect Canada’s diversity in our programming, as well as in our internal recruitment, training and employee retention practices. 2. Corus thanks the Commission granting us an extension of time to prepare this report. Please contact the undersigned if you have any questions concerning the content of this report. Sincerely, Sylvie Courtemanche Vice President, Government Relations Corus Entertainment Inc. ***End of document*** CORUS ENTERTAINMENT INC. (CORUS) ANNUAL REPORT TO THE CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION (CRTC) ON CULTURAL DIVERSITY 2011 I Corporate Accountability The CRTC has stated in the renewal decisions of various licensees that it considers the elements set out below will help ensure that the corporate culture of each broadcast group supports the reflection of cultural diversity in the programming that it presents. Accordingly, each licensee/corporate group should: 1. Senior executive in charge of diversity: “Identify a senior executive who will be accountable for diversity practices and ensuring that management becomes more reflective of Canada's multicultural reality.” (a) Has a senior executive been identified in the corporate plan? The Executive Vice President, Human Resources and the Executive Vice President & General Counsel of Corus continue to share accountability for cultural diversity and equity practices, under the leadership of the President & CEO (the “Core Team”). -
SPANISH FORK COMMUNITY NETWORK DECEMBER 4 - 10, 2009 Ccablableguide
SPANISH FORK COMMUNITY NETWORK DECEMBER 4 - 10, 2009 CCablableGuide Full page ad December 4 - 10, 2009 SPANISH FORK CABLE GUIDE 3 FROM THE COVER ‘Men of a Certain Age’ doesn’t waste a midlife crisis By Kate O’Hare “I tried that for two months,” “I’m playing a character,” he © Zap2it Romano says, playing with a salt- says, “who has a living father and shaker in a booth in the darkened mother, a wife, three kids, rela- diner set on the Paramount lot in tionships. A lot of the characters In a diner with orange seats Hollywood. “When ‘Raymond’ I play, they’re loners. They’re that could be a Denny’s or a ended, there was about three or set apart in some way. One of Howard Johnson’s or, if you’re four months of ‘Let’s see what the beauties of this piece is I’m in Southern California, a Norm’s, happens. This is fun.’ absolutely immersed in my fam- three middle-aged men - played “At first it was exciting, be- ily life.” by Ray Romano, Andre Braugher cause you get to rest on your On the other hand, Bakula is a and Scott Bakula - gather over laurels, enjoy things. Then after husband and a dad of four who’s eggs, coffee and toast to talk a few months, you’re like, ‘Now playing a footloose bachelor. about their lives. what? Who am I?’ There’s a big “I think it’s a ball,” he says, The conversation is a mix of void. I knew what that void was. -
Navigating Non-Being in Television Storytelling
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-1-2019 2:30 PM Watching and Working Through: Navigating Non-being in Television Storytelling Tiara Lalita Sukhan The University of Western University Supervisor Sliwinski, Sharon The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Tiara Lalita Sukhan 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Television Commons Recommended Citation Sukhan, Tiara Lalita, "Watching and Working Through: Navigating Non-being in Television Storytelling" (2019). Electronic Thesis and Dissertation Repository. 6082. https://ir.lib.uwo.ca/etd/6082 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation explores various examples of the concept of symbolic non-being within television drama. It seeks to investigate the ways and degrees to which television storytelling can represent and perform the psychoanalytic process of “working through.” The medium of television provides a unique framework for investigation as television does not just illustrate (represent) working through as something a fictional character experiences, but it also performs it structurally, through the incorporation of three medium-specific features: duration, immersion and repetition. Television represents working through on a mass scale – imagining a collective audience by addressing big political, personal and/or institutional issues that shape our understanding of what it means to be human, navigating a complicated, painful, and too often unjust, world. -
The Essential Science Fiction Television Reader
University of Kentucky UKnowledge American Popular Culture American Studies 5-2-2008 The Essential Science Fiction Television Reader J. P. Telotte Georgia Institute of Technology Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Telotte, J. P., "The Essential Science Fiction Television Reader" (2008). American Popular Culture. 8. https://uknowledge.uky.edu/upk_american_popular_culture/8 THE ESSENTIAL SCIENCE FICTION TELEVISION READER ESSENTIAL READERS IN CONTEMPORARY MEDIA AND CULTURE This series is designed to collect and publish the best scholarly writing on various aspects of television, film, the Internet, and other media of today. Along with providing original insights and explorations of criti- cal themes, the series is intended to provide readers with the best avail- able resources for an in-depth understanding of the fundamental issues in contemporary media and cultural studies. Topics in the series may include, but are not limited to, critical-cultural examinations of cre- ators, content, institutions, and audiences associated with the media industry. Written in a clear and accessible style, books in the series include both single-author works and edited collections. -
Globalization and the Emergence of Japanese Influence In
GLOBALIZATION AND THE EMERGENCE OF JAPANESE INFLUENCE IN AMERICAN POPULAR CULTURE By GINA CELESTE O’MELIA A dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Global Affairs Written under the direction of R. Brian Ferguson And approved by ________________________________________ _________________________________________ _________________________________________ _________________________________________ Newark, New Jersey May 2016 © 2016 Gina O’Melia All Rights Reserved Images appearing in “Appendix A” belong to their respective copyright holders and are being used under the precepts of Fair Use found in Section 107 of the Copyright Act 1976. ABSTRACT OF THE DISSERTATION Globalization and the Emergence of Japanese Influence in American Popular Culture By Gina Celeste O’Melia Dissertation Director: Dr. R. Brian Ferguson The contemporary and prevailing theories that critique globalization often focus on a central concept of the United States having an exceptional and pivotal role in the mechanisms of globalization. However, while Hegemonic Imperialism scholarship focuses on the concept of the United States exporting its cultural wares in order to transform foreign cultures into a homogeneous one, the fact that the United States’ own popular culture is being transformed by globalization is often overlooked. As better predicted by theories outside of this hegemonic imperialistic lens, American popular culture has been and continues to be influenced by Japanese cultural products. This study sought to explore this influence through a series of approaches. The first was through a brief survey of the shared American-Japanese historical and media relationships. Saturday Morning cartoons were then analyzed through both a quantitative content analysis and qualitative genre based analysis from 1987-2012.