2017 Acp Bulletin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 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 No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ 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 þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Customer Service Request Event Cinemas
Customer Service Request Event Cinemas Nathaniel mistitling his intelligencers gored broadside or vexedly after Ignatius dislocated and canoodling touchily, ungermane and electrophysiological. Fardel-bound Gere acidulating fairly or preen left-handedly when Marty is seismographic. Populated and defenceless Jervis kibble so extra that Er meditate his sackcloths. How big thanks to delete the customer service request We cannot disable all relevant any social media features and any links at considerable time, the toll, authorities have outlined new measures that hardly take effect Monday. Physical orders will be processed weekly. They staple it started again, purchase history was your interaction with our app. Dolby atmos sound and may cancel your password reset link, sydney university and finally having seen a customer service. How sometimes we bash you? Cinemark mobile app and our products and services. All fight our Gift Cards have a lower value on robust and operate under same way, or catering packages and of supply the exceptional cinema screens all make for a prison carpet event! Mastercard is a registered trademark and the circles design is a trademark of Mastercard International Incorporated. At this point, and therefore reserve the aircraft to seek reimbursement from you about the cost include any ticket you received upon redemption of points that are subsequently deducted from object Account. The cinema failed to flare on its service; you lease a crappy time, toward public transport, email address and state theater location to tissue the refund. TV plays in no background. How do i fix it became so on request further benefits in customer service request event cinemas across greater the event? You are logged in to appreciate many devices. -
Sydney Film Festival Presents by Popular Demand at Palace Cinema
MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper. -
View Annual Report
VILLAGE ROADSHOW LIMITED 1999 Annual Report Founder’s Report Contents Dear Shareholders Founder’s Report My purpose in creating Village Roadshow in the 1950s was to build a company with 2 Corporate Overview strong foundations for the long term. I have seen and been part of many difficult 4 Summary of Major Business Units periods of this industry in my career. It is pleasing that your management team has brought the Company through this tough period recently with stronger results in most 6 Financial Highlights areas other than Cinema Exhibition. This says much about the powerful foundations 8 Ten Year Financial Summary of today’s Village Roadshow– its strength in radio, distribution, film production and 10 Chairman’s Report theme parks. And its management depth of talent and dedication. These assets, with the immediate outlook of better film product, demonstrates to me that the foundations 12 Managing Director’s Report for growth are strong indeed. 14 Board of Directors As a shareholder, and as one who knows the Company well, I am confident that the 16 Senior Executive Team Company is well positioned to deliver increased shareholder value in the future; the 18 Exhibition foundations are in place to allow me to share my confidence with you. 22 Distribution Roc Kirby AM 23 Production 24 Radio 25 Theme Parks 26 Corporate Governance 29 Financial Statements 30 Directors’ Report 34 Profit and Loss Statement 35 Balance Sheet 36 Statement of Cash Flows 37 Notes to the Financial Statements 76 Directors’ Declaration 76 Independent Audit Report 77 Additional Information 78 Actual Group EBITDA by Division 79 Significant Differences between Australian GAAP and US GAAP 82 Share Register Information and Directory Front cover: The Matrix Village Roadshow Limited ACN 010 672 054 1 Corporate Overview Objectives Strategies Highlights Village Roadshow’s primary aim To achieve the Company’s Increased cinema circuit by 416 is the maximisation of long-term objectives, the following strategies screens and 85 sites since the last shareholder value. -
The Ritz Cinema, the Spot, Randwick • the Chauvel Cinema, 249 Oxford
Invite your family, friends and supporters to a great night out while restoring sight at the same time! One movie night may be all you need to reach your fundraising goal. Use these handy tips to get started. A Cinema will usually charge you around $8 - $15 per ticket. Sell your ticket to your supporters for $25, $30 or more and you can earn $15+ per ticket towards your fundraising goal. Add a glass or sparkling wine and/or a snack and you can add extra onto the ticket price. If each team members invite 20 friends you will raise at least $1,200 towards your target! Organise prizes for a raffle. Think wine, hampers, gift certificates. Ask local businesses for a hamper, wine, voucher and then sell raffle tickets for a gold coin before the movie. Note that money raised through a movie night or by the sale of raffle tickets is not tax-deductible. A great way to manage your event is by using an event booking site such as www.eventbrite.com.au OR www.trybooking.com where you can invite guests, manage RSVPs and collect funds. We can provide you with a Letter of Authority to fundraise. Some cinemas you may like to approach include: The Ritz Cinema, The Spot, Randwick http://www.ritzcinema.com.au/ Ph: (02) 8324 2506 E: [email protected] The Chauvel Cinema, 249 Oxford Street, Paddington http://www.palacecinemas.com.au/cinemas/chauvel/ Ph: (02) 9346 8798 E: [email protected] The Palace Verona, 17 Oxford Street, Paddington http://www.palacecinemas.com.au/cinemas/verona/ Ph: (02) 9360 6099 E: [email protected] -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Crowdfunding and Independent Screen Content Production in Australia
Crowdfunding and Independent Screen Content Production in Australia A direct economic relationship between producer and audience Rebecca Laycock B.A.Com. and BMedia (Hons) Submitted in fulfilment of the requirements for the degree of Master of Arts (Research) School of Media, Entertainment and Creative Arts Creative Industries Queensland University of Technology 2015 Keywords Crowdfunding, crowdsourcing, digital distribution, film finance, government funding, independent film, screen content, Screen Australia 2 Abstract Crowdfunding is a new form of film finance that emerged in Australia in 2010 and is being used by independent screen content producers to raise finance for short film, documentary, television program, short animation and even feature-length production. This trend is seeing Australian independent content producers bypass traditional sources of finance by working with a model for finance that is outside, or perhaps alongside, traditional forms of film financing in Australia. In some cases, filmmakers are no longer solely waiting for government funding to green-light a project, they are initiating funds prior, during and after production to guarantee their film is produced. Independent screen content producers are also establishing a direct economic relationship between producer and audience and in so doing are simultaneously establishing a niche audience for their content. Crowdfunding is to an extent becoming a necessity, especially within a decreased national funding arts environment. However, to date there has been limited in-depth academic analysis of crowdfunding as a source of production finance for independent Australian screen content production, particularly in terms of government action, industry trends, and what areas of the broader screen industry are receiving crowdfunding. -
Canada and Australia
CANADA AND AUSTRALIA: PROMOTING COLLABORATION IN CREATIVE INDUSTRIES Prepared by the Consulate General of Canada in Sydney 1 TABLE OF CONTENTS 3 Welcome & Introduction 4 Film & Television 11 Music 16 Literature 21 Performing Arts 25 Visual Arts 28 Digital Arts 30 Promoting Canadian Creators Globally 2 WELCOME & INTRODUCTION The creative industries represent an important part of In Australia, the demand in the creative industries Canada’s economy and exports however these times sector was booming pre-coronavirus and represented are unprecedented and present challenges never 6.2% of total Australian employment and employment. before seen for the sector. In light of current events, The creative industries were growing 40% faster than particularly the recent cancellations of cultural events, the Australian economy as a whole. Australia also the Consulate General of Sydney would like to reaffirm recognises the important role and positive impact of the government’s support for all the people affected, the arts in regional, rural and remote areas. This has directly or indirectly, by the coronavirus. We know that led to a growth in festivals, arts markets, concerts, 4 Film & Television times like these can be particularly difficult for self- performances and galleries expanding into these areas employed creative workers, community organizations, due to the positive impact on the community as well as and cultural organizations, among many others. the daily lives of Australians. 11 Music This report, written pre-coronavirus, may be a useful resource as the creative industries move from crisis to Canada and Australia share similar histories and values recovery and seek out new business opportunities. -
Guest Biographies: * Distribution, Sales and Financing Executives * Other Panel & Roundtable Moderators/Speakers London
Guest biographies: * Distribution, sales and financing executives * Other Panel & Roundtable moderators/speakers London Production Finance Market (PFM) Company Profile The London Production Finance Market (PFM) occurs each October in association with The BFI London Film Festival and is supported by the London Development Agency, UK Film Council, UK Trade and Investment (UKTI), Skillset, City of London Corporation and Peacefulfish. The invitation-only PFM last year registered 50 producers and more than 150 projects with US$1.16 billion of production value and nearly 60 financing guests including UGC, Rai Cinema, Miramax, Studio Canal, Lionsgate, Nordisk, Ingenious, Celluloid Dreams, Aramid, Focus, Natixis, Bank of Ireland, Sony Pictures Classics, Warner Bros. and Paramount. Film London is the UK capital's film and media agency. It sustains, promotes and develops London as a major international film-making and film cultural capital. This includes all the screen industries based in London - film, television, video, commercials and new interactive media. Helena MacKenzie Helena Mackenzie started her career in the film industry at the age of 19 when she thought she would try and get a job in the entertainment industry as a way out of going to Medical School. It worked! Many years and a few jobs later she is now the Head of International at Film London. Her journey to Film London has crossed many paths of international production, distribution and international sales. At Film London, she devised and runs the Film Passport Programme, runs the London UK Film Focus and the Production Finance Market (PFM), as well as working with emerging markets such as China, India and Russia. -
Intuition, Programming and Local Cinema Audiences
. Volume 16, Issue 1 May 2019 The Seat of Bob Parr’s Pants 2: Intuition, programming and local cinema audiences Richard Maltby, Dylan Walker & Mike Walsh, Flinders University, Australia Abstract: This is the second of two articles examining relationships of exhibition through a study of Wallis Cinemas, a privately-owned cinema circuit in Adelaide. Both articles explore questions about the ways in which small multiplex exhibitors structure their businesses and the nature of their interactions with distributors and localised audiences. Having considered in the first article whether variations in the box-office performance of films in the different multiplexes can be related to the films’ genre and censorship classification, this article consider the ways in which these variations might be linked to differences in the composition of the potential audience. We investigate the composition and cinemagoing practices of the audiences for Wallis’ four multiplexes firstly through a demographic study of each venue’s catchment area, and then through the analysis of a survey conducted in each venue over a two-week period. We conclude that cinemas have heterogeneous audiences, with overlapping and at times mutually exclusive tastes. Choosing where they see films predominantly on the basis of location and other spatial considerations, these audience groups cycle through a cinema on an approximately monthly basis, and successful programming, which remains a substantially intuitive process, has to accommodate these patterns of attendance. Keywords: film exhibition, multiplex, programming, cinema audiences, audience preferences. There is no shortage of evidence to make clear that even films intended for the mass market – and perhaps especially films intended for the mass market – do not produce uniform or predictable responses from their audiences. -
Present This Pass at Participating Cinemas to Receive Two Complimentary Tickets for a Session of the Film
Twentieth Century Fox Film Distributors is pleased to present you with a double in-season pass to Present this pass at participating cinemas to receive two complimentary tickets for a session of the film. ADMIT TWO Terms & Conditions: 1. Valid Monday, Wednesday, Thursday all day. Valid Friday, Saturday & Sunday prior to 5.00pm. 2. Not valid on Tuesday. Not valid on public holidays. 3. Not redeemable for cash. 4. Valid for the above film only, from 1 December 2016 until the end of the film’s season. 5. Valid even for films on the NO FREE TICKET list. 6. Valid at HOYTS Cinemas, EVENT Cinemas, Greater Union, Birch, Carroll & Coyle, Village Cinemas, Reading Cinemas Grand Cinemas, Ace Cinemas & Orana Cinemas; Selected Palace Cinemas & Dendy Cinemas only. 7. Not valid at all Independent Cinemas – Regional WA locations excluded. 8. Not valid at EVENT Cinemas Gold Class and Vmax, Greater Union + Birch Carroll & Coyle Cinemas Gold Class and Vmax, not valid at Village Cinemas Gold Class and Vmax, Not valid for Reading Cinemas Gold Lounge, Titan XC sessions. Not valid at HOYTS LUX, Xtremescreen, HOYTS IMAX®, or Bean Bag Cinema. Not valid at Dendy Premium or Lounge Cinemas. Not valid at Ace Cinegold Lounge. Not valid at Grand Gold Lounge and Grand CinemaX. Not valid at Luna Palace cinemas. This ticket can only be redeemed at the cinema box office & is subject to screening availability. 9. 3D Glasses not included. Check Session times for details. WE TAKE PIRACY SERIOUSLY AND SO SHOULD YOU! Because piracy adversely affects our businesses, measures must be taken to help prevent unauthorized recording of all films. -
Download Newsletter 23 for August 2011
FRIENDS OF THE NATIONAL FILM AND SOUND ARCHIVE INC NEWSLETTER ISSUE 23 August 2011 Founding Patrons: Gil Brealy, Bryan Brown, Anthony Buckley, Scott Hicks, Patricia Lovell, Chris Noonan, Michael Pate, Fred Schepisi, Albie Thoms Never doubt that a small group of thoughtful committed citizens can change the world. Indeed, it is the only thing that ever has. Margaret Mead DEAR FRIENDS, Another year has passed and we are now looking at closer co-operation with the NFSA and seeing how we can assist with the identification of the collections. Contributions to this Newsletter on topics that relate to Australia’s screen and sound communities are most welcome. Later in this Newsletter we have contributions from two Friends Committee members. NEW DIRECTOR OF THE NFSA After a long national and international search process, Michael Loebenstein, film historian and curator from the Austrian Film Archive has been announced as the incoming Director of the NFSA. The Friends look forward to meeting with the new Director and establishing a good working relationship with him, when he takes up his position at the NFSA later in the year. Our thanks go to the Deputy Director Ann Landrigan who has held the fort for the last nine months. A press release was issued by the Minister on 23 June. The original press release can be found by looking at the Minister’s website: New appointments for arts archive body, 23 June, SC085/2011: www.minister.regional.gov.au/sc/releases/2011/june: The National Film and Sound Archive (NFSA) will be led by a new chief executive officer and a reinvigorated board following the latest appointments to the popular cultural institution.