Taiwan Operations Overseas Pay Tv Operations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ftc-2018-0091-D-0015-163436.Pdf
December 28, 2018 The Honorable Joseph Simons Chairman Federal Trade Commission 600 Pennsylvania Avenue, NW Washington, DC 20580 Dear Chairman Simons, Thank you for inviting public comment on the question of whether U.S. antitrust agencies should publish new vertical merger guidelines, and how those guidelines should address competitive harms, transaction-related efficiencies, and behavioral remedies. We submit these comments on behalf of the Writers Guild of America West (“WGAW”), a labor organization representing more than 10,000 professional writers of motion pictures, television, radio, and Internet programming, including news and documentaries. Our members and the members of our affiliate, Writers Guild of America East (jointly, “WGA”) create nearly all of the scripted entertainment viewed in theaters and on television today as well as most of the original scripted series now offered by online video distributors (“OVDs”) such as Netflix, Hulu, Amazon, Crackle, and more. The Non-Horizontal Merger Guidelines (“Guidelines”), originally issued in 1984,1 are the governing document of U.S. vertical antitrust enforcement. They rely, however, upon outdated economic theories that not only fail to promote and protect competition, but, in some cases, obstruct appropriate antitrust enforcement. Large vertical mergers in key industries have caused harm to consumers and failed to deliver on their promised innovations, efficiencies, and public benefits. The current Guidelines’ bias toward false negatives, or non-findings of harm, enables incumbents to consolidate market power and undermine competition. Recent vertical mergers in the telecommunications and entertainment industries illustrate the deficiencies of the current regulatory regime and provide evidence of the need for new guidelines. -
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. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
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. -
Incorporating Fansubbers Into Corporate Capitalism on Viki.Com
“A Community Unlike Any Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Taylore Nicole Woodhouse TC 660H Plan II Honors Program The University of Texas at Austin Spring 2018 __________________________________________ Dr. Suzanne Scott Department of Radio-Television-Film Supervising Professor __________________________________________ Dr. Youjeong Oh Department of Asian Studies Second Reader ABSTRACT Author: Taylore Nicole Woodhouse Title: “A Community Unlike Another Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Supervising Professors: Dr. Suzanne Scott and Dr. Youjeong Oh Viki.com, founded in 2008, is a streaming site that offers Korean (and other East Asian) television programs with subtitles in a variety of languages. Unlike other K-drama distribution sites that serve audiences outside of South Korea, Viki utilizes fan-volunteers, called fansubbers, as laborers to produce its subtitles. Fan subtitling and distribution of foreign language media in the United States is a rich fan practice dating back to the 1980s, and Viki is the first corporate entity that has harnessed the productive power of fansubbers. In this thesis, I investigate how Viki has been able to capture the enthusiasm and productive capacity of fansubbers. Particularly, I examine how Viki has been able to monetize fansubbing in while still staying competitive with sites who employee trained, professional translators. I argue that Viki has succeeded in courting fansubbers as laborers by co-opting the concept of the “fan community.” I focus on how Viki strategically speaks about the community and builds its site to facilitate the functioning of its community so as to encourage fansubbers to view themselves as semi-professional laborers instead of amateur fans. -
Shirley LIN, Requesting Her Service As a Sole Panelist for This Dispute
(Hong Kong Office) ADMINISTRATIVE PANEL DECISION Case No: HK-2001321 Complainant: Television Broadcasts Limited Respondent: Hu Weisheng Disputed Domain Name: <tvbme.com> 1. The Parties and Contested Domain Name The Complainant is Television Broadcasts Limited, of 10/F, Main Building, TVB City, 77 Chun Choi Street, Tseung Kwan O Industrial Estate, Kowloon, Hong Kong Special Administrative Region (HKSAR). The Respondent is Hu Weisheng, of Hefei, Anhui 230031, People's Republic of China (PRC). The domain name at issue is <tvbme.com>, registered by the Respondent with GoDaddy.com, LLC, of 14455 N. Hayden Road, Suite 219, Scottsdale, AZ 85260, United States of America (USA). 2. Procedural History On February 24, 2020, the Complainant submitted the Complaint in English on domain name <tvbme.com> to the Hong Kong Office of the Asian Domain Name Dispute Resolution Centre (the "Centre"), in accordance with the Uniform Domain Name Dispute Resolution Policy (the "Policy") adopted by the Internet Corporation for Assigned Names and Numbers (ICANN) on August 26, 1999, the Rules for Uniform Domain Name Dispute Resolution Policy Disputes (the "Rules") approved by ICANN on October 24, 1999, and the Asian Domain Name Dispute Resolution Centre Supplemental Rules in effect as of July 31, 2015. The Complainant requested a single person panel. After receiving the Complaint, the Centre, in accordance with the Supplemental Rules, verified that the Complaint complied with the formal requirements of the Rules and the Supplemental Rules. In that regard, on February 24, 2020, the Centre requested the Registrar GoDaddy.com, LLC (the "Registrar") to provide following information within five (5) days if possible: 1. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Additional Consumer Disclosures
Additional Consumer Disclosures 7/1/2020 www.bryanu.edu Contents Supplemental Financial Assistance Information .......................3 Recognition of Citizenship ..................................................... 18 Net Price Calculator and Cost of Attendance Information ...... 18 Academic Planning and Improvement ................................... 19 Disclosure of Retention Rates as Reported to IPEDS .............. 20 Policies and Sanctions Related To Copyright Infringement and Liabilities ............................................................................... 20 Information Security Program ............................................... 24 Fraud Prevention ................................................................... 26 Supplemental Financial Assistance Information FINANCIAL ASSISTANCE The Bryan University Financial Assistance Office is available to provide financial access to all students who qualify. Abiding by federal and institutional guidelines, we seek to meet our student’s financial need and help students make responsible financial decisions. The University is committed to providing our students with information they need to make college as affordable as possible. Bryan University’s Financial Assistance Office is available to help make educational goals obtainable. Students must file a Free Application for Federal Student Aid (www.fafsa.ed.gov) to determine financial need. All applicants for their programs must be United States Citizens or eligible non-citizens. Satisfactory Academic Progress must be maintained -
Ace AV Solution Vtek ARD-CX5 Channels List with Web Link As at 21St Nov, 2011
Ace AV Solution Vtek ARD-CX5 Channels List with Web Link as at 21st Nov, 2011. No 频道 Channel Language Service Provider Country Web Link 1 广东电视台体育频道 Guangdong Sports Cantonese Guangdong Television China http://www.gdtv.com.cn/newpage/dabenying/typd/index.asp 2 珠江台 GDTV Cantonese Guangdong Television China http://www.gdtv.com.cn/newpage/dabenying/zjpd2/index.asp 3 高尔夫 Golfbox China English Golf Box, China China http://www.golfbox.cn/ 4 CHC-HD 高清电影 CHC-HD Chinese Movies Mandarin People's Republic of China China http://www.chc2004.cn/huacheng/chc_h.htm 5 中国中央电视台5体育 CCTV5 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv5/ 6 中國中央電視台13新聞 CCTV13 Mandarin People's Republic of China China http://cctv.cntv.cn/cctvxinwen/ 7 中國中央電視台1綜合 CCTV1 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv1/ 8 中國中央電視台2財經 CCTV2 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv2/ 9 中國中央電視台3綜藝 CCTV3 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv3/ 10 中國中央電視台4中文國際(亞洲) CCTV4 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv4asia/ 11 中國中央電視台8電視劇 CCTV8 Mandarin People's Republic of China China http://cctv.cntv.cn/cctv8/ 12 凤凰卫视台 Phoenix Satellite TV Mandarin Phoenix Satellite Television Holdings Limited China http://phtv.ifeng.com/ 13 凤凰资讯台 Phoenix Satellite TV News Mandarin Phoenix Satellite Television Holdings Limited China http://news.ifeng.com/ 14 東方衛視 Dragontv Mandarin Shanghai Media Group China http://www.dragontv.cn/ 15 江蘇衛視 Jiangsu Satallite TV (JSBC) Mandarin Jiangsu Broadcasting Corporation China http://www.jsbc.com/ 16 深圳体育 Shenzhen Sports Mandarin Shenzhen Media Group China http://www.sztv.com.cn/szmg_television/index.do?a=channelindex0506&m=0506 17 湖南卫视 Hunantv Mandarin Golden Eagle Broadcasting System China http://zixun.hunantv.com/ 18 古巴电视 Cubavision Spanish Cuban Institute of Radio and Television Cuba http://www.cubavision.cubaweb.cu/portada.asp 19 法国时装 Fashion TV English Fashion TV France http://www.ftv.com/schedule 20 法国电视 TV5Monde French TV5MONDE, S.A. -
May 2019 Investor Presentation
INVESTOR PRESENTATION | MAY 2019 FORWARD-LOOKING STATEMENTS This presentation (the “Presentation”) relates to ChiCken Soup For the Soul Entertainment, InC. (“CSS Entertainment” or the “Company”), whiCh Completed its initial publiC ofFering in August 2017 pursuant to a qualiFied oFFering statement (“OFFering Statement”) Filed under Regulation A as promulgated under the SeCurities Act oF 1933, as amended (the “Act”). The Company Completed its aCquisition oF SCreen Media Ventures, LLC in November 2017 as Further desCribed in the Company’s Current report on Form 8-K, initially Filed on November 6, 2017 and amended on January 16, 2018 and January 17, 2018 (the “SCreen Media 8-K”). The Company Completed its aCquisition oF Pivotshare, InC. in August 2018 as further desCribed in the Company’s Current report on Form 8-K, Filed on August 28, 2018 (the “Pivotshare 8-K”). The Company Completed its aCquisition oF A Sharp InC., dba A Plus, on DeCember 28, 2018 as Further desCribed in the Company’s Current report on Form 8-K, Filed on January 2, 2019 (the “A Plus 8-K”). On May 14, 2019, the Company CommenCed a joint venture, CraCkle Plus LLC (“JV Entity” or “Crackle Plus”), with CPE Holdings, InC., (“CPEH”) an aFFiliate oF Sony PiCtures Television InC. (“Sony”), and CraCkle, InC., a wholly owned subsidiary of CPEH (“CraCkle”). The joint venture and related transaCtions are disCussed in the Company’s Current reports on Form 8-K Filed with the SeCurities and ExChange Commission on April 2, 2019 and May 15, 2019. This presentation Contains various inFormation and projeCtions regarding the joint venture thereunder. -
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% -
C Ntent Page 7 L
#GreatJobs C NTENT page 7 www.contentasia.tv l www.contentasiasummit.com Endemol Shine production exits Singapore Production goes global Singapore focus on sales Endemol Shine Group is pulling the plug on Singapore-based production, shifting regional production to global hubs and refocusing a pared-down team in Singa- pore on format sales. The decision tops a record three years in both format sales and production across Asia, including co-development projects such as The Society Game with CJ E&M In Korea and a co-development deal with JTBC, also in Korea. The transition, expected to be com- plete by mid-2018, will be overseen by Asia managing director, Fotini Paraskakis out of Singapore. Operations in China and India, which are run separately from Southeast Asia and the rest of North Asia, are not impacted. More on page 2 A+E Networks ups China originals Nanking doc boosts 2017 co-pros to nine hours A+E Networks has upped its global China originals announced this quarter to three hours, adding Nanking docu- drama Scars of Nanking with Jiangsu Broadcasting Corporation to the Silk Road feature, Silk Road – Reborn, an- nounced in October. More on page 3 20-26 november 2017 page 1. C NTENTASIA 20-26 november 2017 Page 2. Endemol Shine pulls the plug on Singapore production base Asia restructure shifts global, Mumbai/Singapore teams to focus on sales Endemol Shine Group is pulling the plug on Singapore-based regional produc- tion, shifting to global hubs for formats production and refocusing a pared- down team in Singapore on both format licensing and finished tape sales.