Annual Report 2017 Iab Annual Report 2017
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GPU Developments 2018
GPU Developments 2018 2018 GPU Developments 2018 © Copyright Jon Peddie Research 2019. All rights reserved. Reproduction in whole or in part is prohibited without written permission from Jon Peddie Research. This report is the property of Jon Peddie Research (JPR) and made available to a restricted number of clients only upon these terms and conditions. Agreement not to copy or disclose. This report and all future reports or other materials provided by JPR pursuant to this subscription (collectively, “Reports”) are protected by: (i) federal copyright, pursuant to the Copyright Act of 1976; and (ii) the nondisclosure provisions set forth immediately following. License, exclusive use, and agreement not to disclose. Reports are the trade secret property exclusively of JPR and are made available to a restricted number of clients, for their exclusive use and only upon the following terms and conditions. JPR grants site-wide license to read and utilize the information in the Reports, exclusively to the initial subscriber to the Reports, its subsidiaries, divisions, and employees (collectively, “Subscriber”). The Reports shall, at all times, be treated by Subscriber as proprietary and confidential documents, for internal use only. Subscriber agrees that it will not reproduce for or share any of the material in the Reports (“Material”) with any entity or individual other than Subscriber (“Shared Third Party”) (collectively, “Share” or “Sharing”), without the advance written permission of JPR. Subscriber shall be liable for any breach of this agreement and shall be subject to cancellation of its subscription to Reports. Without limiting this liability, Subscriber shall be liable for any damages suffered by JPR as a result of any Sharing of any Material, without advance written permission of JPR. -
A Guide to Media Planning and Buying in 2021
A Guide to Media Planning and Buying in 2021 www.mediatool.com 0 1 What's included? The ‘buckle up’ mantra won’t take you far in the new normal. Whether you’re an in- house marketer or an agency media planner, adapting to the new advertising climate is crucial. More than that, reinventing your digital marketing planning to be able to mirror consumers’ ever-evolving needs will be on every marketing leader’s agenda in 2021. If you’re looking for better ways to drive traffic, generate leads and deliver more ROI, start by leaving the old tactics behind. Table of contents 02 What is media planning? 03 Media planning vs. Media buying: what’s the difference? 06 The effects of COVID-19 on media planning 09 Your step by step guide to media planning 12 Media planning challenges 17 What's next? 0 2 What is media planning? Let’s get the semantics out of the way. Media planning refers to the process of identifying, assessing, and selecting media channels and platforms to reach a well-defined target audience. Media planners determine how, where, when, and why a business will share media content to boost awareness, reach, engagement, and drive ROI through paid advertising. A media planner is responsible for developing a coordinated media plan for a given advertising budget. The more that budget is optimized – or stretched, as they like to say in the media world – to reach the largest audience for the lowest cost, the more ROI can be generated. The sole purpose of media planning is to get a brand in front of the right audience at the right time and persuade them to purchase a product or service. -
Unit 10 Media Selection, Planning and Scheduling
Media Selection, Planning and Scheduling UNIT 10 MEDIA SELECTION, PLANNING AND SCHEDULING Objectives After going through this unit you should be able to: • explain the concept of media planning and the role of media in overall marketing and advertising plan • discuss the considerations relevant to media selection • describe the dominant factors in media scheduling. Structure 10.1 Introduction 10.2 The Meaning and Types of Media 10.3 Media Planning: a Process 10.4 Media Selection: a Process 10.5 Media Scheduling 10.6 A Final Word on Media Plans 10.7 Development of Media Strategy 10.8 Summary 10.9 Self-assessment Questions 10.10 Further Readings 10.1 INTRODUCTION Media management involves one of the most crucial decisions for an advertiser in its objectives to reach effectively the target markets. The decisions assume further critical importance with the wide availability of media vehicles and changing reading and viewing patterns in buying public. For instance, markets have been flooded; with a large assortment of magazines in the recent times. Similarly a vast spectrum of programmes is available on televisions-as the captor of an attentive home audience. Not to be outdone, the hitherto unfamiliar media are now in vogue. Examples include matchboxes carrying product advertisements, or the postal stationery carrying marketing messages of good and social causes. Obviously, baffled the advertiser has to seek answers to the following questions. a) How to spend the defined funds allocated to advertising and promotional activities? b) How to match the media audience with the market audience for the product/service? c) How to benefit from seasonal variations mostly prevalent in sales of all goods and services? d) How to weave media with the overall marketing effort? This unit attempts some answers itself. -
Annual Report 2018 2 Annual Report 2018
ANNUAL REPORT 2018 2 ANNUAL REPORT 2018 ACCELERATING GROWTH PLAYING BY THE NEW RULES: IN THE DIRECT BRAND DATA GOVERNANCE, ECONOMY REVOLUTION ETHICS, AND LEGISLATION et’s not mince words: 2018 was a year of We see no reason to believe this direct brand ata is to the 21st century what capital massive disruption by any measure—and all economy will slow down, let alone go into reverse. This was to the 20th century. If you doubt that, Lsigns point to this disruption accelerating in “stack-your-own supply chain” is now so advanced and Dconsider this: In 2018, American companies 2019 and beyond. so embedded in the economy that the trends we’ve spent nearly $19.2 billion on the acquisition of For over a century, dominant consumer-facing seen for the past decade will only accelerate. audience data and on solutions to manage, process, companies created value through their ownership and and analyze digital audience data—a figure that operation of high-barrier-to-entry, capital-intensive It also represents an incredible represents a staggering 17.5 percent increase supply chains. The most successful companies owned opportunity for those who understand from the prior year (State of Data 2018 Report, outright or had significant control over every major the power of interactive media in this Winterberry Group, IAB). function within their supply chain, from the sourcing of new world order. This is the current data landscape—and the raw materials to the ownership of their factories and elephant in the room. warehouses, to the railway cars and trucks that got Digital advertising—whether display, search, or Our industry is at the center of a seismic change If you don’t have consumers’ trust, their goods to market. -
Downloading of Movies, Television Shows and Other Video Programming, Some of Which Charge a Nominal Or No Fee for Access
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2011 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE TRANSITION PERIOD FROM TO Commission file number 001-32871 COMCAST CORPORATION (Exact name of registrant as specified in its charter) PENNSYLVANIA 27-0000798 (State or other jurisdiction of (I.R.S. Employer Identification No.) incorporation or organization) One Comcast Center, Philadelphia, PA 19103-2838 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (215) 286-1700 SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT: Title of Each Class Name of Each Exchange on which Registered Class A Common Stock, $0.01 par value NASDAQ Global Select Market Class A Special Common Stock, $0.01 par value NASDAQ Global Select Market 2.0% Exchangeable Subordinated Debentures due 2029 New York Stock Exchange 5.50% Notes due 2029 New York Stock Exchange 6.625% Notes due 2056 New York Stock Exchange 7.00% Notes due 2055 New York Stock Exchange 8.375% Guaranteed Notes due 2013 New York Stock Exchange 9.455% Guaranteed Notes due 2022 New York Stock Exchange SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT: NONE Indicate by check mark if the Registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ No ☐ Indicate by check mark if the Registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. -
Transcript: November 5, 2020, Earnings Call of the New York Times
The New York Times Company (NYT) CEO Nov. 7, 2020 11:22 AM ET Meredith Kopit Levien on Q3 2020 Results - Earnings Call Transcript New York Times Co (NYSE:NYT) Q3 2020 Earnings Conference Call November 5, 2020 8:00 AM ET Company Participants Harlan Toplitzky - Vice President of Investor Relations Meredith Kopit Levien - President and Chief Executive Officer Roland Caputo - Executive Vice President and Chief Financial Officer Conference Call Participants Thomas Yeh - Morgan Stanley John Belton - Evercore ISI Alexia Quadrani - JPMorgan Doug Arthur - Huber Research Partners Vasily Karasyov - Cannonball Research Craig Huber - Huber Research Partners Kannan Venkateshwar - Barclays Operator Good morning, and welcome to The New York Times Company's Third Quarter 2020 Earnings Conference Call. All participants will be in listen-only mode. [Operator Instructions] Please note this event is being recorded. I would now like to turn the conference over to Harlan Toplitzky, Vice President, Investor Relations. Please go ahead. Harlan Toplitzky Thank you, and welcome to The New York Times Company's Third Quarter 2020 Earnings Conference Call. On the call today, we have Meredith Kopit Levien, President and Chief Executive Officer; and Roland Caputo, Executive Vice President and Chief Financial Officer. Before we begin, I would like to remind you that management will make forward-looking statements during the course of this call and our actual results could differ materially. Some of the risks and uncertainties that could impact our business are included in our 2019 10-K, as updated in subsequent quarterly reports on Form 10-Q. Page 1 of 19 The New York Times Company (NYT) CEO Nov. -
“Understanding What's Important…”
Published by the New York Press Association on behalf of New York’s Community Newspapers NewsBeat February 2017 NYPA 2017 SPRING CONFERENCE AND TRADE SHOW Friday and Saturday, April 7th & 8th, 2017 Gideon Putnam Resort • Saratoga Springs, NY “Understanding what’s important…” VENUE RE • R G E IN T V A I I R N D I N G • C T U N S E T T O N M O E C R S S W E • N New York Press Association PA 2 NewsBeat February 2017 By MICHELLE REA — Executive Director, NYPA CLIP & SAVE Mark your calendar NYPA 2017 Spring Conference and Trade Show April 7th and 8th Gideon Putnam Hotel and Conference Center Register for the conference and reserve your hotel room at www.nynewspapers.com Register today for NYPA’s fabulous spring Michelle Nicolosi, editor for digital, social, conference and trade show in Saratoga Springs! photo and video at The Oregonian, will lead a Registration fees are as low as $49 per person — session on how to put your readership metrics Thursday, April 6, 2017 a bargain at five times the price! into action with a step-by-step guide to creating NYPA/NYPS Boards of Directors Meetings content that readers want. NYPA Foundation Board of Directors Meeting Sixty-four conference workshops will focus on Gideon Putnam Hotel, Saratoga Springs, NY fostering great news organizations (great Jean Hodges, senior director of content for journalism is at the core of our brand!), driving Gatehouse Media, will show you how to take Friday & Saturday, revenue and growing audience. -
NYT 6.27.2021 10-Q Document
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-Q ☒ QUARTERLY REPORT PURSUANT TO SECTION 13 or 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the quarterly period ended June 27, 2021 ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from ___ to ___ Commission file number 1-5837 THE NEW YORK TIMES COMPANY (Exact name of registrant as specified in its charter) New York 13-1102020 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 620 Eighth Avenue, New York, New York 10018 (Address and zip code of principal executive offices) Registrant’s telephone number, including area code 212-556-1234 Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Class A Common Stock NYT New York Stock Exchange Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes x No o Indicate by check mark whether the registrant has submitted electronically every Interactive Data File required to be submitted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit such files). -
DISCLAIMER: This Document Does Not Meet the Current Format
DISCLAIMER: This document does not meet current format guidelines Graduate School at the The University of Texas at Austin. of the It has been published for informational use only. Copyright by Joshua Eric Miller 2017 i The Report Committee for Joshua Eric Miller Certifies that this is the approved version of the following report: Publishers, Brands and the Freelancers in between: Journalistic boundaries in the age of sponsored content and the gig economy APPROVED BY SUPERVISING COMMITTEE: Supervisor: Wenhong Chen Rosental Alves ii Publishers, Brands and the Freelancers in between: Journalistic boundaries in the age of sponsored content and the gig economy by Joshua Eric Miller, BSJ Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degrees of Master of Arts Master of Business Administration The University of Texas at Austin May 2017 iii Acknowledgements First I would like to express deep gratitude to my report advisor Dr. Wenhong Chen, one of the first and most influential people I met at the University of Texas. Dr. Chen taught me about the power of interpersonal ties in her Social Capital and Social Networks course my first semester of graduate school. She repeatedly reinforced their value over the next three years, as a teacher, supervisor and voice of encouragement. Without her timely and thorough feedback, patience and motivation, this report would have been impossible. Her humor always helped too. I also would like to thank second reader Rosental Alves, who pushed me to learn more about emerging business models in journalism and consider their implications for the profession. -
Strands and Standards Digital Marketing
STRANDS AND STANDARDS DIGITAL MARKETING Course Description The Digital Marketing course is designed to give students a general background in digital marketing and an introduction to the rapidly growing and evolving career field. Students will be exposed to the fundamental concepts and principles of the digital experience, focus on the learning tools and skills necessary for solving business problems, and developing marketing opportunities. This course will provide practical experience in, but not limited to: eCommerce, media planning, branding, online advertising, display advertising, digital campaigns, social media marketing, and mobile media. Core Code 11-12 Concurrent Enrollment Core Code .5 Units of Credit 37.01.00.00.001 Intended Grade Level 37.01.00.13.001 Prerequisite None Skill Certification Test Number 412 Test Weight 0.5 License Type Secondary Education 6-12 Required Endorsement(s) Endorsement Business and Marketing Information Tech. " Learning that works for Utah ADA Compliant: July 2018 DIGITAL MARKETING STRAND 1 Students will be able to define Marketing and Digital Marketing and identify trends in the Digital Marketing Industry. Standard 1 Students will demonstrate a basic understanding of Marketing and Digital Marketing ● Define the marketing terms: • Marketing • Digital marketing • Marketing mix • Marketing concept • Advertising and promotion ● Explore current trends in Digital Marketing such as: • Artificial intelligence • Real-time marketing • (Cx) Customer experience • Marketing automation • Location based marketing • Cloud computing • Software as A Service (Saas) Standard 2 Students will demonstrate understanding of brand and brand positioning techniques and strategies. Why is branding important to a business and consumers? ● Explore branding as it relates to a business and its influence on consumers ● Explain the concept of brand equity, brand values, and experiential branding. -
EWEN LESLIE | Actor
EWEN LESLIE | Actor FILM Year Production / Character Director Company 2017 THE NIGHTINGALE Jennifer Kent Bron Studios Goodwin 2016 SWEET COUNTRY Warwick Thornton Bunya Productions Harry 2016 THE BUTTERFLY TREE Priscilla Cameron Midwinter Flims Al 2016 LARRIKINS Chris Miller DreamWorks Animation Hotspur & Tim Minchin 2015 THE DAUGHTER Simon Stone Fate Films Oliver 2013 THE MULE Tony Mahony The Mule Productions P/L Les 2012 THE RAILWAY MAN Jonathan Teplitzky Archer Street Productions Thompson 2012 DEAD EUROPE Tony Krawitz Dead Europe P/L. Isaac 2011 SLEEPING BEAUTY Julia Leigh Sleeping Beauty Productions. Birdman 2007 THREE BLIND MICE Matthew Newton Dirtyrat Films P/L. Sam 2006 KOKODA Alister Grierson GFN Productions. Wilstead Shanahan Management Pty Ltd Level 3 | Berman House | 91 Campbell Street | Surry Hills NSW 2010 PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] 2004 2004 2005 JEWBOY Tony Krawitz Porchlight Films. Yuri (Selected for Un Certain Regard at 2005 Cannes Film Festival) 2002 DOPPLEGANGERS Matthew Bird Daedalus Pictures for 2002 Lead POV Festival. 2001 PUSHING STACEY Damian Wyvill Producer: Nikki Cavanaugh Police Officer 1998 JUSTICE Ron Elliott West Coast Pictures. James TELEVISION Year Production/Character Director Company 2017 FIGHTING SEASON Ben C. Lucas Goalpost Pictures Ted 2017 SAFE HARBOUR Glendyn Ivin Matchbox Pictures Ryan 2016 TOP OF THE LAKE: CHINA GIRL Jane Campion See Saw Films Pyke & Ariel Kleiman 2015 RAKE Various Essential Media & Bevan Entertainment 2015 JANET KING SEASON 2 Various Screentime Patrick Boccaro 2014 DEADLINE GALLIPOLI Michael Rymer Full Clip Productions Keith Murdoch 2013 WONDERLAND Various Freemantle Media Australia Nick 2013 TOP OF THE LAKE Jane Campion See Saw Films Steve & Garth Davis 2012 MR & MRS MURDER Various Freemantle Media Hugo 2012 REDFERN NOW Various Blackfella Films/ABC TV Mr Parish 2012 DEVIL’S DUST Jessica Hobbs Fremantle Media. -
'Modernising Television Regulation in Australia' Media Reform Green Paper Australian Writers' Guild Submission 21 May 2021
‘Modernising television regulation in Australia’ Media Reform Green Paper Australian Writers’ Guild Submission 21 May 2021 KEY POSITIONS 1. Government should introduce regulation that requires eligible streaming-video- on-demand (SVOD) and advertising-video-on-demand (AVOD) services to invest 20% of their Australian-sourced revenue into commissioning new Australian scripted content (including drama, children’s television, documentary). 2. Eligibility requirements should be set at 500,000 subscribers or registered users and AU$50 million per annum in Australian revenue. 3. In addition to the above, eligible service providers should be subject to genre sub- quotas for drama, children’s television and documentary. 4. These sub-quotas must be accompanied by transmission and promotion obligations. 5. The public broadcasters should receive an increase in direct funding. The public broadcasters have been left with the sole responsibility of programming vulnerable genres such as children’s television for local audiences and they require further support. 6. Regulation of the streaming platforms should be implemented by 1 January 2022 to reignite a contracted sector and cushion the blow from the loss of $100 million of Australian content annually, following the relaxation of quota obligations on the free-to-air broadcasters. 7. In relation to the proposed CAST fund, government should ensure that key creatives – such as writers and directors – have a say in the distribution of the fund and implement measures to protect against bureaucratic mismanagement of the fund. 8. The government must encourage investment in script development and commit to supporting and retaining local creative talent, including emerging talent. The Australian Writers' Guild (AWG) is the professional association for Australian screen and stage writers principally in film, television, theatre, audio and digital media.