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FCC-06-11A1.Pdf
Federal Communications Commission FCC 06-11 Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of Competition ) MB Docket No. 05-255 in the Market for the Delivery of Video ) Programming ) TWELFTH ANNUAL REPORT Adopted: February 10, 2006 Released: March 3, 2006 Comment Date: April 3, 2006 Reply Comment Date: April 18, 2006 By the Commission: Chairman Martin, Commissioners Copps, Adelstein, and Tate issuing separate statements. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 1 A. Scope of this Report......................................................................................................................... 2 B. Summary.......................................................................................................................................... 4 1. The Current State of Competition: 2005 ................................................................................... 4 2. General Findings ....................................................................................................................... 6 3. Specific Findings....................................................................................................................... 8 II. COMPETITORS IN THE MARKET FOR THE DELIVERY OF VIDEO PROGRAMMING ......... 27 A. Cable Television Service .............................................................................................................. -
BOA Paper 8/2011 (For Information on 20.5.2011) Updates on Complaints for the Quarter 1 – 3/2011 (Position As at 6.5.2011) A
BOA Paper 8/2011 (For information on 20.5.2011) Updates on Complaints for the Quarter 1 – 3/20111 (Position as at 6.5.2011) A. Complaints dealt with by the Broadcasting Authority Complaints Committee and considered by the Broadcasting Authority Title No. of Substance of Complaint Decision Complaints Radio Programme "Ordinary Done 1 - Three members of the public - the BA noted that the programme was a talk show Seriously" complained about the captioned broadcast on Saturday afternoons. In a segment (尋常事認真做) radio programme. The substance of entitled " 名 DJ 打比你" (English translation: the complaints was that the random Famous DJs Calling You), the hosts made random (RTHK Radio 2, 20 & 27 November prank calls by the programme hosts phone calls to members of the public, asked if 2010, 4 & 11 December 2010, would exert a bad influence on the they were aware that the hosts were famous DJs, 4:00pm-6:00pm) public and promote prank playing. and chatted about their listening habits. It was noted that most people who received the phone calls simply hung up when they found themselves engaged in nuisance calls from strangers. - the BA noted that although this type of "candid camera" presentation was not uncommon on television and radio programmes, some people found the calls obnoxious and offending. The hosts' remarks and discussion after making the calls were often frivolous, sometimes preceded by a burst of laughter, and seemingly complacent over the meaningless jokes on others. The frivolous tone and presentation of the hosts might give listeners an impression that it was harmless to make prank calls or ridicule people in such a 1 Content of this paper is extracted from the homepage of the Broadcasting Authority: http://www.hkba.hk/en/complaints/archives.html P.1 manner. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
Radio Television Hong Kong Performance Pledge 2015-16
RADIO TELEVISION HONG KONG PERFORMANCE PLEDGE 2015-16 This performance pledge summarizes the services provided by Radio Television Hong Kong (RTHK) and the standards you can expect. It also explains the steps you can take if you have a comment or a complaint. 1. Hong Kong's Public Service Broadcaster RTHK is the sole public service broadcaster in the Hong Kong Special Administrative Region (HKSAR). Its primary obligation is to serve all audiences - including special interest groups - by providing diversified radio, television and internet services that are distinctive and of high quality, in news and current affairs, arts, culture and education. RTHK is editorially independent and its productions are guided by professional standards set out in the RTHK Producers’ Guidelines. Our Vision To be a leading public service broadcaster in the new media environment Our Mission To inform, educate and entertain our audiences through multi-media programming To provide timely, impartial coverage of local and global events and issues To deliver programming which contributes to the openness and cultural diversity of Hong Kong To provide a platform for free and unfettered expression of views To serve a broad spectrum of audiences and cater to the needs of minority interest groups 2. Corporate Initiatives In 2015-16, RTHK will continue to enhance participation by stakeholders and the general public with a view to strengthening transparency and accountability; and will receive advice from the Board of Advisors on issues pertaining to its terms of -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
ATV, the Death of Television?
Beat: News ATV, The Death of Television? Oldest Hong Kong TV channel closes! Hong Kong, 07.04.2016, 04:04 Time USPA NEWS - The recently “˜deceased´ Asia Television Limited (ATV) in Hong Kong was the first television studio in the city. Being able to witness the death of a television channel may be an once-in-a-lifetime event, but this brings up the interesting discussion of the role of television in the modern world. The recently “˜deceased´ Asia Television Limited (ATV) in Hong Kong was the first television studio in the city. Known as Rediffusion when it was formed just after the war, it initially only provided a radio service for four hours a day. In 1957, it became the world´s first Chinese television channel and the first indigenous television channel in the entire British Empire. A decade after its first broadcast, it was renamed ATV and formed a duopoly with TVB (Television Broadcasts Limited), the city´s other free-to-air channel. It is unmistakable that ATV has a résumé that´s hard to match, but what caused it fail after all these years? Over the many decades of its operations, ATV has changed hands several times, each time into a more pro-Beijing business. Many analysts on newspapers and other television studios alike have agreed that gross mismanagement was to blame; this included anything from introducing incompatible management techniques to airing some of the most unpopular shows in the history of the company. Some programs ATV offered we so unpopular that polls showed they only had a 1% viewership rate. -
Digital News Report 2018 Reuters Institute for the Study of Journalism / Digital News Report 2018 2 2 / 3
1 Reuters Institute Digital News Report 2018 Reuters Institute for the Study of Journalism / Digital News Report 2018 2 2 / 3 Reuters Institute Digital News Report 2018 Nic Newman with Richard Fletcher, Antonis Kalogeropoulos, David A. L. Levy and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2018 4 Contents Foreword by David A. L. Levy 5 3.12 Hungary 84 Methodology 6 3.13 Ireland 86 Authorship and Research Acknowledgements 7 3.14 Italy 88 3.15 Netherlands 90 SECTION 1 3.16 Norway 92 Executive Summary and Key Findings by Nic Newman 8 3.17 Poland 94 3.18 Portugal 96 SECTION 2 3.19 Romania 98 Further Analysis and International Comparison 32 3.20 Slovakia 100 2.1 The Impact of Greater News Literacy 34 3.21 Spain 102 2.2 Misinformation and Disinformation Unpacked 38 3.22 Sweden 104 2.3 Which Brands do we Trust and Why? 42 3.23 Switzerland 106 2.4 Who Uses Alternative and Partisan News Brands? 45 3.24 Turkey 108 2.5 Donations & Crowdfunding: an Emerging Opportunity? 49 Americas 2.6 The Rise of Messaging Apps for News 52 3.25 United States 112 2.7 Podcasts and New Audio Strategies 55 3.26 Argentina 114 3.27 Brazil 116 SECTION 3 3.28 Canada 118 Analysis by Country 58 3.29 Chile 120 Europe 3.30 Mexico 122 3.01 United Kingdom 62 Asia Pacific 3.02 Austria 64 3.31 Australia 126 3.03 Belgium 66 3.32 Hong Kong 128 3.04 Bulgaria 68 3.33 Japan 130 3.05 Croatia 70 3.34 Malaysia 132 3.06 Czech Republic 72 3.35 Singapore 134 3.07 Denmark 74 3.36 South Korea 136 3.08 Finland 76 3.37 Taiwan 138 3.09 France 78 3.10 Germany 80 SECTION 4 3.11 Greece 82 Postscript and Further Reading 140 4 / 5 Foreword Dr David A. -
Fala Chen [email protected]
Fala Chen [email protected] THE JUILLIARD SCHOOL TROJAN WOMEN Helen Ellen Lauren EVERYBODY Somebody Danya Taymor HENRY V Dauphin Jonathan Rosenberg CORIOLANUS Volumnia Jonathan Rosenberg THE ADDING MACHINE Mrs. Zero Moni Yakim STOP KISS Sara Vivienne Benesch OTHER THEATER SKYLIGHT Kyra Hollis Chan Chu Hei Hong Kong Academy for Performing Arts FILM DESPICABLE ME 3 Lucy Wilde Kyla Balda & Pierre Coffin Universal Pictures (Voice, Chinese) THE TREASURE Ching Shih (Lead) Gordon Chan Bona Film Group TALES FROM THE DARK II Chow Tsing Yee (Lead) Gordon Chan Edko Films THE FORTUNE BUDDIES Mer Jer (Supporting) Shaw Brothers I LOVE HONG KONG Li Ki (Lead) Shaw Brothers TURNING POINT Karen (Lead) Herman Yao/Shaw Brothers BLACK RANSOM Koo Gwo Kung (Lead) Kwok-Man Keung MegaVision Pictures 72 TENANTS Young Pinky (Supporting) Chung Shu Ka/Shaw Brothers TELEVISION WILL POWER Eugene Sum (Regular) 30 episodes TRIUMPH IN THE SKIES II Holida Ho (Regular) 42 episodes BALLAD OF THE DESERT Li Yan (Regular) 40 episodes QUEEN OF DIAMONDS AND HEARTS Chung Mo Yim (Regular) 25 episodes LIFE OF OMISSION Jodie Chow (Regular) 40 episodes MUSIC BEAUTIFUL LIFE Debut Album (Pop) ifpi HK Best Sales New Local Female Vocalist AWARDS Best New Performer – Nomination 29th Annual Hong Kong Film Awards Best Actress in a Supporting Role 6th Asian Television Awards Best Chinese Actress in a TV Series 10th Huading Awards Best Actress in Hong Kong Taiwan Region 16th Chinese Channel V Awards SKILLS Fluent English, native Mandarin, fluent Cantonese, intermediate Japanese (Business Level II), martial arts (3 years), piano (10 years), dance (12 years), singing (8 years) EDUCATION The Juilliard School Drama Division . -
Overseas Regulatory Announcement
(Incorporated in Hong Kong with limited liability under the Companies Ordinance) (Stock Code: 1137) OVERSEAS REGULATORY ANNOUNCEMENT Please refer to the attached Form 20-F for the fiscal year ended 31 August 2008 which has been filed with the U.S. Securities and Exchange Commission on 16 January 2009 by the Company. By Order of the Board City Telecom (H.K.) Limited Lai Ni Quiaque Executive Director, Chief Financial Officer and Company Secretary Hong Kong, 19 January 2009 As at the date of this announcement, the executive directors of the Company are Mr. Wong Wai Kay, Ricky (Chairman), Mr. Cheung Chi Kin, Paul (Vice Chairman), Mr. Yeung Chu Kwong, William (Chief Executive Officer), Mr. Lai Ni Quiaque (Chief Financial Officer); the non-executive director is Mr. Cheng Mo Chi, Moses; and the independent non-executive directors are Mr. Lee Hon Ying, John, Dr. Chan Kin Man and Mr. Peh Jefferson Tun Lu. Table of Contents As filed with the Securities and Exchange Commission on January 16, 2009. UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, DC 20549 FORM 20-F REGISTRATION STATEMENT PURSUANT TO SECTION 12(B) OR 12(G) OF THE SECURITIES EXCHANGE ACT OF 1934 or ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended August 31, 2008 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from or or SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 Date of event requiring this shell company report Commission file number: 333-11012 City Telecom (H.K.) Limited (Exact name of registrant as Specified in its Charter) Hong Kong Special Administrative Region, The People’s Republic of China (Jurisdiction of Incorporation or Organization) Level 39, Tower 1, Metroplaza No. -
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017). -
Premi Re Hotel UNVEILING KLANG’S HISTORICAL CHARM an E-Publication By
An e-publication by ISSUE 06-APR/MAY/JUN 2014 WCT GROUP BEGINS CONSTRUCTION WORKS IN JOHOR, MALAYSIA 5 WAYS TO PAMPER YOUR PARENTS PREMIÈRE HOTEL, KLANG: A PROUD RESIDENT OF THE ROYAL TOWN Premire Hotel UNVEILING KLANG’S HISTORICAL CHARM An e-publication by ISSUE 06-APR/MAY/JUN 2014 WCT LAND SET TO UNVEIL 1MEDINI GARDEN VILLAS 5 WAYS TO PAMPER ISSUE 06 YOUR PARENTS PREMIÈRE HOTEL, KLANG: A PROUD RESIDENT OF APR THE ROYAL TOWN 20 MAY JUN SPOTLIGHT: 14 Premire Hotel UNVEILING KLANG’S HISTORICAL CHARM Klang’s history and heritage has long been enriched by a flourishing port, extensive tin mining and fascinating architectures. This year, Première Hotel embarks on an educational drive to promote the town. 11 Lew Wen Feng EDITOR’S NOTE 03 05 08 UPCOMING Tan Tee Lee 04 This and next month’s events INFORM 05 Updates and WCT news INSPIRE 09 WCT Group of Companies spread festive love and joy INFOCUS 10 Première Hotel’s 09 13 Premiering Greater Klang initiative Reproduction in whole or part of IMPRESS !NMOT!ON is prohibited without 13 5 ways to pamper your prior permission of WCT Holdings Berhad. All rights reserved. The deserving parents views and opinions expressed or implied in !NMOT!ON are those of STAY IN TOUCH the authors or contributors and do 16 not necessarily reflect those of WCT Holdings Berhad. 0 3 ED!TOR’S NOTE 1 6 ISSUE 06 APR 20 MAY 14 JUN Port Klang, Klang As for this issue, we are thrilled to highlight Première Hotel’s “Premiering Greater Klang” initiatives, which promote the town’s rich history and culture. -
2016 Annual Report
FINANCIAL HIGHLIGHTS Revenue and Prot Attributable to 2016 2015 Change Equity Holders of the Company Revenue (Continuing operations) Prot Attributable to Equity Holders of the Company Performance 6,000 Earnings per share HK$1.14 HK$3.04 -62% Dividends per share 5,000 - Interim HK$0.60 HK$0.60 – - Final – HK$2.00 -100% 4,000 HK$0.60 HK$2.60 -77% 3,000 HK$’mil HK$’mil HK$’ million HK$’ Revenue 2,000 - Hong Kong TV broadcasting 2,707 3,105 -13% - Hong Kong digital new media 1,000 business 230 170 35% - Programme licensing and 0 distribution 1,019 951 7% 2012 2013 2014 2015 2016 - Overseas pay TV operations 169 186 -9% YEAR - Channel operations 90 105 -14% Earnings & Dividends# Per Share - Other activities 191 129 48% - Inter-segment elimination (196) (191) 2% Earnings per Share Dividends# per Share 4,210 4,455 -5% 4.5 HK$’mil HK$’mil 4 Segment (loss)/profit* 3.5 - Hong Kong TV broadcasting (71) 551 N/A 3 - Hong Kong digital new media business (29) 41 N/A 2.5 - Programme licensing and HK$ 2 distribution 444 410 8% - Overseas pay TV operations (40) (30) 31% 1.5 - Channel operations 2 18 -87% 1 - Other activities 27 11 151% 0.5 - Corporate support (33) – N/A - Inter-segment elimination 1 (1) N/A 0 2012 2013 2014 2015 2016 301 1,000 -70% YEAR # excluding special dividend Total expenses∆ 3,888 3,439 13% 2016 Revenue by Operating Segment Profit attributable to equity holders 500 1,331 -62% % relating to 2015 are shown in brackets 31 December 31 December Hong Kong TV 2016 2015 broadcasting HK$’mil HK$’mil 63% (69%) Total assets 12,357 9,113 36%