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ZOOM- Press Kit.Docx
PRESENTS ZOOM PRODUCTION NOTES A film by Pedro Morelli Starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar Tyler Labine, Jennifer Irwin and Jason Priestley Theatrical Release Date: September 2, 2016 Run Time: 96 Minutes Rating: Not Rated Official Website: www.zoomthefilm.com Facebook: www.facebook.com/screenmediafilm Twitter: @screenmediafilm Instagram: @screenmediafilms Theater List: http://screenmediafilms.net/productions/details/1782/Zoom Trailer: www.youtube.com/watch?v=M80fAF0IU3o Publicity Contact: Prodigy PR, 310-857-2020 Alex Klenert, [email protected] Rob Fleming, [email protected] Screen Media Films, Elevation Pictures, Paris Filmes,and WTFilms present a Rhombus Media and O2 Filmes production, directed by Pedro Morelli and starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar, Tyler Labine, Jennifer Irwin and Jason Priestley in the feature film ZOOM. ZOOM is a fast-paced, pop-art inspired, multi-plot contemporary comedy. The film consists of three seemingly separate but ultimately interlinked storylines about a comic book artist, a novelist, and a film director. Each character lives in a separate world but authors a story about the life of another. The comic book artist, Emma, works by day at an artificial love doll factory, and is hoping to undergo a secret cosmetic procedure. Emma’s comic tells the story of Edward, a cocky film director with a debilitating secret about his anatomy. The director, Edward, creates a film that features Michelle, an aspiring novelist who escapes to Brazil and abandons her former life as a model. Michelle, pens a novel that tells the tale of Emma, who works at an artificial love doll factory… And so it goes.. -
Locals Safe After Boston Bombings Watch Her Sister Compete in Three Months and Had to Learn Woman’S Sister the Legendary Footrace
Treaty talk Swingin’ team Columbia River pact Liberty golfers undefeated generates renegotiation in conference play — See Sustainable Life section inside — See Page A15 FRIDAY, APRIL 19, 2013 • SERVING HILLSBORO • WWW.HILLSBOROTRIBUNE.COM • VOL. 02, NO. 10 • FREE Locals safe after Boston bombings watch her sister compete in three months and had to learn Woman’s sister the legendary footrace. “Yes, Toby fi nished, and to walk again,” said Langmann, “What if we had lost Toby? a fl ight instructor for the Hills- Jenny Langmann of nishes marathon We almost lost her 11 months I’m glad she’s OK ... but boro Airport. “After the explo- Hillsboro (left) ago,” Langmann said Wednes- it’s hard to celebrate sions, the sense of urgency I felt jumped onto the before attacks day morning as she waited in a at fi rst wasn’t the same as oth- Boston Marathon San Diego airport for a flight when there’s tragedy ers around me.” course to run a By NANCY TOWNSLEY back to Oregon. there.” But when she reconnected short distance with The Hillsboro Tribune As it turned out, 40-year-old — Hillsboro resident Jenny Langmann with Nishikawa after the race — her sister, Toby Toby Nishikawa of Utah — who less than an hour after hopping Nishikawa, who Monday’s dual explosions ran in Boston 11 months after a onto the course near Heart- fi nished the race at the fi nish line of the 117th horrific bicycle accident last fore the fi rst bomb went off in break Hill to run a symbolic before Monday’s Boston Marathon represent- May in which she broke nine Copley Square, creating chaos quarter-mile with her — the explosions ed a cruel fl ashback for Hills- bones — was one of the lucky at the packed finish line on horror hit Langmann hard. -
WGAW-FMC Petition to Deny Final Redacted
REDACTED – FOR PUBLIC INSPECTION Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, DC 20554 In the Matter of ) ) Applications of Comcast Corp. and ) MB Docket No. 14-57 Time Warner Cable Inc. ) For Consent to Transfer Control of ) Licenses and Authorizations ) JOINT PETITION TO DENY OF FUTURE OF MUSIC COALITION AND WRITERS GUILD OF AMERICA WEST, INC. Laura Blum-Smith Casey Rae Research Analyst VP for Policy and Education Emily Sokolski Senior Research & Policy Analyst Ellen Stutzman Director of Research & Public Policy Deadline.com Writers Guild of America, West, Inc. Future of Music Coalition 7000 West Third Street 1615 L Street NW, Ste. 520 Los Angeles, CA 90048 Washington, DC 20036 August 25, 2014 1 REDACTED – FOR PUBLIC INSPECTION SUMMARY The proposed merger between Comcast and Time Warner Cable (“Applicants”) and the subsequent divestiture transactions between Applicants, Charter Corporation and SpinCo are not in the public interest. The merger of Comcast and Time Warner Cable will enhance the market power of Applicants as cable television and online content distributors. The lack of sufficient competition in both multichannel video programming distributor (“MVPD”) and Internet service provider (“ISP”) markets coupled with Applicants’ dominant market share in both content distribution platforms will have significant anticompetitive effects. Increased distribution power, combined with vertical integration into video programming, enhances Applicants’ incentive to engage in practices that harm upstream content markets. While Applicants may not compete directly in local markets, they are competitors in the market for video programming and this merger eliminates a key market participant. The increased concentration resulting from this merger will occur in a market where evidence provided by Applicants suggests that Comcast already has market power as a buyer, and this merger will enhance such power. -
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. -
Article Title
International In-house Counsel Journal Vol. 11, No. 41, Autumn 2017, 1 The Future is Cordless: How the Cordless Future will Impact Traditional Television SABRINA JO LEWIS Director of Business Affairs, Paramount Television, USA Introduction A cord-cutter is a person who cancels a paid television subscription or landline phone connection for an alternative Internet-based or wireless service. Cord-cutting is the result of competitive new media platforms such as Netflix, Amazon, Hulu, iTunes and YouTube. As new media platforms continue to expand and dominate the industry, more consumers are prepared to cut cords to save money. Online television platforms offer consumers customized content with no annual contract for a fraction of the price. As a result, since 2012, nearly 8 million United States households have cut cords, according to Wall Street research firm MoffettNathanson.1 One out of seven Americans has cut the cord.2 Nielsen started counting internet-based cable-like service subscribers at the start of 2017 and their data shows that such services have at least 1.3 million customers and are still growing.3 The three most popular subscription video-on-demand (“SVOD”) providers are Netflix, Amazon Prime and HULU Plus. According to Entertainment Merchants Association’s annual industry report, 72% of households with broadband subscribe to an SVOD service.4 During a recent interview on CNBC, Corey Barrett, a senior media analyst at M Science, explained that Hulu, not Netflix, appears to be driving the recent increase in cord-cutting, meaning cord-cutting was most pronounced among Hulu subscribers.5 Some consumers may decide not to cut cords because of sports programming or the inability to watch live programing on new media platforms. -
The Export of European Films on SVOD Outside Europe
The export of European films on SVOD services outside Europe Christian Grece September 2019 A publication of the European Audiovisual Observatory Table of Contents Overview of 79 SVOD services in 21 countries worldwide Analysis by region and country ▪ North America – Canada and USA ▪ Latin America – Argentina, Brazil and Mexico ▪ South East Asia – Indonesia, Malaysia, Philippines, Singapore and Thailand ▪ East Asia – China and Japan ▪ India ▪ Oceania –Australia and New Zealand ▪ Middle East – The United Arab Emirates, Egypt and Saudi Arabia ▪ Individual countries - Russian Federation, South Africa and Turkey Introduction The aim of this report is to give a picture on the export of EU films on SVOD services outside of the European Union. 79 SVOD services in 21 countries worldwide are part of the sample. The report looks at the circulation of unique film titles and the volume/occurrences of films available on these services, on a regional and service basis. The first part gives a snapshot of the availability of EU films around the globe after which a overview for each region is provided. Methodology The analysis has been carried out based on data provided by Ampere Analysis and comprehends SVOD catalogue data collected in June 2019. A film is defined as a feature film, fiction film, documentary or other film content available in the “Film” / “Movie” section of the SVOD catalogues part of the sample. For the origin of a film, only the first country of production is taken into account. The production countries are based on data collected from the Observatory’s LUMIERE database on admissions to films in Europe, IMDb and the Movie database. -
Comcast Has No Say As Hulu Considers Sale 27 June 2011, by Joe Flint
Comcast has no say as Hulu considers sale 27 June 2011, By Joe Flint As speculation continues to swirl around Hulu, one rights and board representation. Comcast was also of its corporate owners is forced to sit on the made to provide programming to Hulu on the same sidelines having no role in the fate of the popular terms as the other owners. Since Disney and News online video site even though the outcome could Corp. have agreed to renew their deals with Hulu, greatly affect its own future. Comcast will also now do the same because of its arrangement with the government. That's the position Comcast Corp., the nation's largest cable and broadband operator, finds itself Since its hands are tied, Comcast will have little in with regard to Hulu, which has retained say in any sale of Hulu, and yet could find itself investment bankers to explore a possible sale of having to go along with a deal that could put the the company. Whereas Hulu's other majority website in the possession of a potential competitor. owners - Walt Disney Co. and News Corp. - have Whereas News Corp. and Disney do not own cable seats on the board and a say in management, systems or have broadband operations, Comcast Comcast is essentially a silent partner. does, and it is likely to be wary about Hulu ending up with a firm such as Google Inc. or Yahoo Inc. or The latest indication that Hulu is looking to sell another big cable distributor, especially if it has to itself is that it has reached tentative agreements provide content to a rival. -
HULU and the FUTURE of TELEVISION: a CASE STUDY An
HULU AND THE FUTURE OF TELEVISION: A CASE STUDY An Honors Thesis (HONRS 499) by Matthew Rodgers Thesis Advisor Michael Hanley Associate Professor of Journalism Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Understanding current media trends and adapting to ever-changing consumer desires is essential to success in advertising. Hulu is one of several new Internet-based services that deliver television content to consumers without using the traditional broadcast or cable channels used in the recent past. This document compiles information concerning this new service and presents it as a case study for the evolving television market, especially as it concerns advertisers. 2 Acknowledgements I would like to thank the following people for their patience, understanding, guidance and encouragement throughout the duration of this project: Michael Hanley Kevin and Karen Rodgers Katie Mathieu Nathan Holmes and Noah Judd microPR: Joey Lynn Foster, Kenzie Grob, Kati Ingerson, Ben Luttrull and Adam Merkel 3 Table of Contents I. Abstract ..............................................................,........................... " ...... 2 II. Acknowledgements ... '" ........... .. .. ........... ... ................. .... ....... .................... 3 III. Table of Contents ............................. ................ .... ...................................... 4 IV. Statement of Problem ...... ...... ............ .. ...................................................... 5 V. Methodology ............ '" -
Analysys Mason Document
Report for the Internet Society Discussion paper on the contribution of the Internet to content creation 31 May 2013 Michael Kende, Mark Colville, Alex Reichl Ref: 37342-244 . Contents 1 Executive summary 1 2 Introduction 3 3 The evolution of the content industry 4 3.1 Overview of trends in content distribution 4 3.2 Audio content 11 3.3 Video content 15 4 New business models 22 4.1 Streaming 22 4.2 Digital download services 30 4.3 Device strategies 32 4.4 TV Everywhere 34 5 Conclusions 37 Annex A About us Ref: 37342-244 . Discussion paper on the contribution of the Internet to content creation Copyright © 2013. Analysys Mason Limited and the Internet Society (ISOC). This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this licence, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/. The analysis and conclusions presented in this report are those of the stated author and Analysys Mason Limited, and have been arrived at independently of any client-specific work. Analysys Mason Limited St Giles Court 24 Castle Street Cambridge CB3 0AJ UK Tel: +44 (0)845 600 5244 Fax: +44 (0)1223 460866 [email protected] www.analysysmason.com Registered in England No. 5177472 Ref: 37342-244 . Discussion paper on the contribution of the Internet to content creation | 1 1 Executive summary The Internet is a platform that is ideal for the distribution of digital content such as music or video. In general, given that the Internet empowers technology at its edges, it allows companies to introduce innovative services that can grow quickly; more specifically, digital content can be copied perfectly an endless number of times and distributed at low cost, particularly compared with physical manufacture and distribution. -
DIGITAL ORIGINAL SERIES Global Demand Report
DIGITAL ORIGINAL SERIES Global Demand Report Trends in 2016 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Trends in 2016 Executive Summary } This year saw the release of several new, popular digital } The release of popular titles such as The Grand Tour originals. Three first-season titles — Stranger Things, and The Man in the High Castle caused demand Marvel’s Luke Cage, and Gilmore Girls: A Year in the for Amazon Video to grow by over six times in some Life — had the highest peak demand in 2016 in seven markets, such as the UK, Sweden, and Japan, in Q4 of out of the ten markets. All three ranked within the 2016, illustrating the importance of hit titles for SVOD top ten titles by peak demand in nine out of the ten platforms. markets. } Drama series had the most total demand over the } As a percentage of all demand for digital original series year in these markets, indicating both the number and this year, Netflix had the highest share in Brazil and popularity of titles in this genre. third-highest share in Mexico, suggesting that the other platforms have yet to appeal to Latin American } However, some markets had preferences for other markets. genres. Science fiction was especially popular in Brazil, while France, Mexico, and Sweden had strong } Non-Netflix platforms had the highest share in Japan, demand for comedy-dramas. where Hulu and Amazon Video (as well as Netflix) have been available since 2015. Digital Original Series with Highest Peak Demand in 2016 Orange Is Marvels Stranger Things Gilmore Girls Club De Cuervos The New Black Luke Cage United Kingdom France United States Germany Mexico Brazil Sweden Russia Australia Japan 2 Copyright © 2017 Parrot Analytics. -
WGAW and Future of Music Reply
REDACTED – FOR PUBLIC INSPECTION Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, DC 20554 In the Matter of ) ) Applications of Comcast Corp. and ) MB Docket No. 14-57 Time Warner Cable Inc. ) For Consent to Transfer Control of ) Licenses and Authorizations ) REPLY OF FUTURE OF MUSIC COALITION AND WRITERS GUILD OF AMERICA, WEST, INC. Laura Blum-Smith Casey Rae Research Analyst Chief Executive Officer Emily Sokolski Senior Research and Policy Analyst Ellen Stutzman Director of Research and Public Policy Writers Guild of America, West, Inc. Future of Music Coalition 7000 West Third Street 1615 L Street NW, Ste. 520 Los Angeles, CA 90048 Washington, DC 20036 December 29, 2014 REDACTED – FOR PUBLIC INSPECTION SUMMARY The proposed merger between Comcast Corporation (“Comcast”) and Time Warner Cable (“TWC” or “Time Warner Cable,” together, “Applicants”) and the subsequent divestiture transactions between Applicants, Charter Corporation (“Charter”), and GreatLand Connections will harm competition, programming diversity, and consumer choice. There is broad consensus among industry participants that these transactions do not serve the public interest. Comcast’s proposed expansion of traditional and digital media distribution magnifies many of the harms identified by commenters and by the Federal Communications Commission (“Commission” or “FCC”) in the Comcast-NBC Universal (“NBCU”) merger and also raises new concerns. In Comcast-NBCU , the FCC found that the merger would have increased Comcast’s ability and incentive to discriminate against unaffiliated programming 1 and to hinder competition from online video distributors (“OVDs”) through “its exercise of control over consumers’ broadband connections.”2 Now, with the acquisition of TWC, Comcast can expand such harmful practices across a larger share of both the multichannel video programming distribution (“MVPD”) and Internet service provider (“ISP”) markets. -
The Streaming Wars in the Global Periphery: a Glimpse from Brazil
PRODUCTIONS / MARKETS / STRATEGIES THE STREAMING WARS IN THE GLOBAL PERIPHERY: A GLIMPSE FROM BRAZIL MELINA MEIMARIDIS, DANIELA MAZUR, DANIEL RIOS Name Melina Meimaridis the expression “streaming wars.” This research Academic centre Federal Fluminense University, Brazil offers a glimpse of Brazil’s audiovisual industry and E-mail address [email protected] tries to understand how American streaming companies are penetrating this market and how the local media Name Daniela Mazur conglomerates are reacting. In order to maintain their Academic centre Federal Fluminense University, Brazil dominance in the region, free-to-air networks, pay-tv E-mail address [email protected] networks, and Brazilian telecommunication companies are using different strategies, either creating their own Name Daniel Rios platforms or partnering with pre-established ones in favor Academic centre Federal Fluminense University, Brazil of strengthening themselves. Given Brazil’s particular E-mail address [email protected] television organization, based largely on a few broadcast networks, local media conglomerates have fostered a KEYWORDS mutualistic relationship with their streaming platforms. Internet-distributed television; Globoplay; The largest national streaming company, Globoplay, has Brazilian television; local; Netflix. stood out in the local market: not only making TV Globo’s productions available but also producing original content and offering foreign series exclusively. Because traditional ABSTRACT television consumption is deeply rooted in the country, Considering the current proliferation of video several different strategies are required if TV Globo aims streaming platforms as a worldwide phenomenon, this to transform viewers into Globoplay subscribers. The article analyzes how countries in the global periphery are Brazilian case study reveals nuances and strategies from adapting to this effervescent scenario, characterized by a media industry in the global periphery.