Investor Relations 2019
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Cj Enm(035760
August 9, 2018 Result Comment CJ ENM (035760 KS) Decent performance 2Q consolidated operating profit in line at W79.2bn BUY (re-initiate) 3Q consolidated operating profit estimated at W86bn; earnings to stay solid Price (Aug. 8) W236,200 Target Price W270,000 Re-initiate coverage on CJ ENM with a BUY rating and a target price of % variance 14.3% W270,000 HeeJin Park ☎ (82-2) 3772-1562 2Q consolidated operating profit in line at W79.2bn [email protected] CJ ENM posted its first results after the merger on July 1. Consolidated operating profit came in at W79.2bn in 2Q, meeting our forecast of W79.3bn. SeJong Hong ☎ (82-2) 3772-1584 The E&M division delivered solid earnings with sales up 9.2% YoY and operating [email protected] profit up 25% YoY. Broadcasting exceeded expectations with operating profit increasing 22% YoY to W29.2bn. Ad sales growth of 10.2 YoY also turned out better than expected. Music and cinema showed mixed results. The music division KOSPI 2,301.45p posted sales of W66.5bn (+41.1% YoY) and operating profit of W4.2bn (+114% KOSDAQ 783.81p YoY) on strengthening IP (intellectual property) business. By contrast, the Market Cap. W5,179.0bn/ US4,543.0mn cinema/performance division remained in the red with an operating loss of Par Value W5,000 W3.9bn due to stagnant growth of moviegoers and weak line-up. The commerce division (CJ O shopping) registered standalone operating profit of W40.3bn and Outstanding Shares 21.9mn consolidated W33.9bn. -
To Higher Heights
Experience Korea Experience Courtesy of CJ ENM ⓒ To Higher Heights K-drama’s Global Boom Falling For Hallyu Whether by choice or quarantine due to The dramas “Autumn in My Heart” (2000) and COVID-19, homebodies worldwide are discovering “Winter Sonata” (2003) were the initial triggers of gems of Korean dramas, especially on Netflix. From Hallyu, or the Korean Wave. The success formula for “Crash Landing on You” to the “Reply” series, works K-dramas at the time was simply romance; doctors feature themes of warm romance to preternatural fell in love in a medical drama while lawyers did fantasy and gripping crime thrillers, and are apparently in a legal drama. Bae Yong-joon, the lead actor in good enough to make international viewers overlook “Winter Sonata,” grew so popular in East Asia that the nuisance of subtitles. Many K-dramas have also he became the first Korean celebrity to be featured inspired remakes around the world, signaling even in the textbooks of Taiwan and Japan. His nickname grander prospects for the industry. “Yonsama” earned from his Japanese fans cemented his overwhelming popularity. A decade after “Autumn” 30 Experience Korea Experience was broadcast in Korea, the Chinese remake “Fall in Love (一不小心 上你)” came out in 2011. Another K-drama,爱 “I’m Sorry, I Love You” (2004), spurred a Chinese remake as a film and a Japanese one as a series. “Temptation to Go Home (回 家的誘惑),” the 2011 Chinese remake of the 2008 K-drama “Temptation of Wife” (2008), starred Korean actress Choo Ja-hyun as the lead in her China debut. -
A Psalm of Fear
A Psalm of Fear Psalm 31:1 To the choirmaster. A Psalm of David. For the end, a Psalm of David, an utterance of extreme fear. (LXX) In you, O LORD, do I take refuge; let me never be put to shame; in your righteousness deliver me! 2 Incline your ear to me; rescue me speedily! Be a rock of refuge for me, a strong fortress to save me! 3 For you are my rock and my fortress; and for your name's sake you lead me and guide me; 4 you take me out of the net they have hidden for me, for you are my refuge. 5 Into your hand I commit my spirit; you have redeemed me, O LORD, faithful God. 6 I hate those who pay regard to worthless idols, but I trust in the LORD. 7 I will rejoice and be glad in your steadfast love, because you have seen my affliction; you have known the distress of my soul, 8 and you have not delivered me into the hand of the enemy; you have set my feet in a broad place. 9 Be gracious to me, O LORD, for I am in distress; my eye is wasted from grief; my soul and my body also. 10 For my life is spent with sorrow, and my years with sighing; my strength fails because of my iniquity, and my bones waste away. 11 Because of all my adversaries I have become a reproach, especially to my neighbors, and an object of dread to my acquaintances; those who see me in the street flee from me. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
John Wesley's Manuscript Prayer Manual
John Wesley’s Manuscript Prayer Manual1 (c. 1730–1734) Editorial Introduction During his years as a student and active fellow at Oxford University, John Wesley filled a number of manuscript notebooks with material. Some were devoted to extracts from letters he had received, inventories of his personal library and expenses, and (after 1725) a diary. Others contained extended extracts from books he did not own, or collected short extracts from various sources on a topic (like his MS Poetry Miscellany). The survival of many of these notebooks is one of the rich resources for Wesley Studies. The largest portion that survive are part of the Colman Collection, now held in the Methodist Archives at The John Rylands Library in Manchester, England. Among these is a volume of prayers and psalms, mainly excerpted from published collections.2 A transcription of the contents of this notebook is provided below, identifying most of Wesley’s sources. (Those portions for which no source has been located are shown in blue font; they may be Wesley’s own creation, or from a yet unidentified source.) Before turning to the transcription it will be helpful to consider the context and purpose of the notebook. In the spiritual retrospective that he wove into his published Journal account of the transition he experienced on May 24, 1738, John Wesley emphasized that his earliest years at Epworth were in a home that adhered staunchly to the practice in the Church of England of morning and evening prayers, typically at the parish church. While he spoke of being ‘more -
Studio Dragon (253450) Update Fundamental S to Improve in 2020
2019. 10. 31 Company Studio Dragon (253450) Update Fundamental s to improve in 2020 ● The business environment in Korea and overseas is moving favorably for the Minha Choi media industry—eg , OTT platforms are launching around the world, a number of Analyst Korean players are engaging in M&A activity, and terrestrial broadcasters are [email protected] investing more heavily in tent-pole content. These developments should lead to 822 2020 7798 more demand for quality content, which bodes well for content producers in 2020. Kwak Hoin ● Studio Dragon should enjoy greater earnings stability by producing multi-season Research Associate original content for OTT services. It may produce content for both Netflix and new [email protected] global players. Terrestrial broadcasters are also eager to secure quality content. 822 2020 7763 ● Capitalizing on its popular intellectual property and production prowess, the firm has been expanding into new business areas and should see solid top- and bottom-line growth next year. We raise our 12-month target price to KRW88,000. WHAT’S THE STORY? Poised to benefit from sea change in media market: The business environment has been changing quickly at home and abroad. Several global giants are preparing to launch OTT platforms from November, and, in response, Korean OTT service providers are teaming up to boost their competitiveness. Struggling from low viewership ratings, the country’s three terrestrial broadcasters have altered programming lineups and in AT A GLANCE September launched OTT platform Wavve in partnership with SK Telecom—the latter a move that may lead to greater investment in tent-pole dramas. -
Studio Dragon Corporation
Studio Dragon Corporation (253450 KQ ) Look beyond temporary setback Media 1Q18 review: Below-consensus earnings due to one-off factors Results Comment For 1Q18, Studio Dragon posted consolidated revenue of W79.9bn (+6% YoY; all growth figures hereafter are YoY) and operating profit of W10.7bn (-23.7%), missing April 30, 2018 consensus estimates (revenue of W86.8bn and operating profit of W14.5bn) by 7.9% and 26.4%, respectively. Earnings disappointed, due to: 1) high base effects from last year’s hit drama, Goblin (which contributed 42.2% of annual operating profit in 2017); 2) lackluster licensing revenue, due to negative externalities (e.g., Me Too movement, (Maintain) Buy PyeongChang Olympics); and 3) a slowdown in other revenues, due to a void in talent management left by key artists (although product placement earnings were within the Target Price (12M, W) 110,000 normal range). Programming revenue expanded to W40.7bn (+54.5%), in line with the consensus. Share Price (04/27/18, W) 87,400 Licensing revenue declined to W32.1bn (-12.0%), as brisk sales to Netflix (estimated at W10bn) were offset by negative external factors. We believe non-Netflix exports and Expected Return 26% domestic VOD sales were sluggish, due to temporary factors, including sudden cast/storyline changes and the Pyeongchang Olympics. Other revenues (product placement, talent management, original soundtracks, etc.) fell to W7.1bn (-43.4%), mainly OP (18F, Wbn) 59 due to key artists’ hiatus. Considering the volatile nature of talent management, we think Consensus OP (18F, Wbn) 70 it is safe to assume the decline in other revenues is a temporary issue. -
'Bite Me': Buffy and the Penetration of the Gendered Warrior-Hero
Continuum: Journal of Media & Cultural Studies, Vol. 16, No. 2, 2002 ‘Bite Me’: Buffy and the penetration of the gendered warrior-hero SARA BUTTSWORTH, University of Western Australia Introduction Can the ultimate girl be the ultimate warrior? If warrior identity is simultaneously a quintessentially masculine identi er, and one of the core expressions of ‘innate’ masculinity, then the biggest transgression of warrior iconography posed by Buffy the Vampire Slayer is Buffy’s gender. Buffy is both like and not like ‘other girls’. The social conventions of mainstream femininity, which have so often been used to argue that women cannot be warriors, are often precisely what make Buffy such an effective soldier in her speculative world. The blurred boundaries that are possible in speculative texts open up space necessary to examine the arguments and gendered ideologies which govern what is, and what is not, possible in the ‘real’ world. Such texts can often make explicit what is implied in more ‘realistic’ representations, and can either destabilize or reinforce gendered cultural conventions.1 Established as the ‘chosen one’ in the 1992 lm, and then in the television series which debuted mid-season in 1997, Buffy has slashed her way not only through the ctional constraints placed upon her predecessors in vampire carnage, but through the conventions governing gendered constructions of the warrior.2 Warrior tradition con- structs a coherent masculinity, including impenetrable male bodies, as the key to warrior identity, and renders ‘slay-gal’3 not only paradoxical but, arguably, impossible. It is this (im)possibility, and the ways in which Buffy the Vampire Slayer fractures and reinvents the gendered identity of the warrior-hero, which are explored in this article. -
Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world. -
Sexual Assault and Rape in Tahrir Square and Its Vicinity: a Compendium of Sources 2011 - 2013
Sexual Assault and Rape in Tahrir Square and its Vicinity: A Compendium of Sources 2011 - 2013 Prepared By: El-Nadeem Center for Rehabilitation of Victims of Violence and Torture - Nazra for Feminist Studies - New Woman Foundation February 2013 (2) Sexual Assault and Rape in Tahrir Square and its Vicinity: A Compendium of Sources FOREWORD .............................................................................................................................. 4 INTRODUCTION ....................................................................................................................... 7 SEXUAL ASSAULT DURING THE FIRST ANNIVERSARY OF THE JANUARY 25 REVOLUTION ............................................................................................................................ 9 1. Testimony of Survivor - Basma ...................................................................................................... 9 SEXUAL ASSAULT ON JUNE 2012 ....................................................................................... 10 2. Testimony of Survivor – N ............................................................................................................. 10 3. Testimony of Survivor - C .............................................................................................................. 12 4. Testimony of Survivor - R .............................................................................................................. 15 5. Testimony of Sally Zohney ........................................................................................................... -
Investigating & Prosecuting Animal Abuse
Photo credits: Animal photos compliments of Four Foot Photography (except dog and cat on back cover and goat); photo of Allie Phillips by Michael Carpenter and photo of Randall Lockwood from ASPCA. All rights reserved. National District Attorneys Association National Center for Prosecution of Animal Abuse 99 Canal Center Plaza, Suite 330 Alexandria,VA 22314 www.ndaa.org Scott Burns Executive Director Allie Phillips Director, National Center for Prosecution of Animal Abuse Deputy Director, National Center for Prosecution of Child Abuse © 2013 by the National District Attorneys Association. This project was supported by a grant from the Animal Welfare Trust. This information is offered for educational purposes only and is not legal advice. Points of view or opinions in this publication are those of the authors and do not represent the official position or policies of the National District Attorneys Association or the Animal Welfare Trust. Investigating & Prosecuting Animal Abuse ABOUT THE AUTHORS Allie Phillips is a former prosecuting attorney and author who is nationally recognized for her work on behalf of animals. She is the Director of the National Center for Prosecution of Animal Abuse and Deputy Director of the National Center for Prosecution of Child Abuse at the National District Attorneys Association. She was an Assistant Prosecuting Attorney in Michigan and subsequently the Vice President of Public Policy and Human-Animal Strategic Initiatives for American Humane Association. She has been training criminal justice profes- sionals since 1997 and has dedicated her career to helping our most vulnerable victims. She specializes in the co-occurrence between violence to animals and people and animal protec- tion, and is the founder of Sheltering Animals & Families Together (SAF-T) Program, the first and only global initiative working with domestic violence shelters to welcome families with pets. -
Investor Relations 2019
Investor Relations 2019 Citi Conference, March 2019 Disclaimer This financial information in this document are consolidated earnings results based on K-IFRS. This document is provided for the convenience of investors only, before the external audit on our 4Q 2018 and 2018 financial results is completed. The audit outcomes may cause some parts of this document to change. In addition, this document contains “forward-looking statements” – that is, statements related to future, not past, events. In this context, “forward-looking statements” often address our expected future business and financial performance, and often contain words such as “expects”, “anticipates”, “intends”, “plans”, “believes”, “seeks” or “will”. Our actual results to be materially different from those expressed in this document due to uncertainties. Investor Relations 2019 TABLE OF CONTENTS I Studio Dragon at a Glance II 2018 Earnings Release III 2019 Growth Strategy Appendix I Studio Dragon at a Glance 1. Highlights 2. Comprehensive Studio 3. Studio Dragon at a Glance 4. Studio Centered Industry Change 5. No.1 Studio in Korea We Create New Culture 1 Highlights DOMESTIC M/S REVENUE GROWTH INTL. REVENUE CREATORS 27% 32% 29% 158People +4Titles +64.1% +16.0% +11.9% +1.6%p 110.2 26 51.8 40.1 5.0 35.9 44.7 22 67.2 3.4 2017 2018 2017 2018 2017 2018 2017 2018 2017 2018 Production Trend International Revenue Domestic VOD Payment to Creators Viewer Rating (1) (Titles) (Wbn) (Wbn) (Wbn) (%) Note (1) Refers to household average viewer ratings; Excludes Olive’s series <Dear My Room> 5 | Investor Relations 2019 – I.