Buying Compliance: Governmental Advertising and Soft Censorship in Mexico
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TTEIIII IIIII Bastos Preoperativos E Inversión En: (I) Contraprestación Por La Concesiones¿, Lii) Plantas De Transmisión (Iii)
2 086 t¡rformación de Productos y Mercados - Anexo z.s 27 91 AruExo 2.5 l¡lolceR EL cosro ESTTMADo DE LA pRoDuccró¡'¡ v/o ¿oeursrcró¡¡ DE coNTENtDo, nsi covo or le tNFRAESTRUcfURA y DEL EQUrpo REQUERTDo pARA pRovEER EL sERvrcro o¡ rEL¡vlsróN RADtoDtFUNDTDA (rrLrvtstólt RADToDTFUNDIDA coMERCreL) corusrornANDo uN NrvEL DE coBERTURA EeuTvALENTE ¡t50% DEL TorAL DE LA poBLACIórrl ¡lnctorutl y DE AL MENos tt30% EN CADA ENTTDAD reogRqi¡va TTEIIII IIIII Bastos preoperativos e inversión en: (i) contraprestación por la concesiones¿, lii) plantas de transmisión (iii) por lar concestones era el monto por pañe del lnstituto Federal de felecomunicaciones ("lFT") en el mes de abril de 2014. '.", ..{.,1 6r upc lmagen lv1-lt rttedra 'J.üü'd ...;)-*, t;;: ', ¡',{rri tít:¿',r'i .:',: ír,t Ü'r"t}rlt i '.ry |r;l,r:; "i::, -- l't,i':,::tt,^! .¿ Grupo lmagen Multimedia 2068 {i:¡t;'.:¿¿;.¡ '#" " 1?,:i'üz),1.¡1¡tí:t{ri\i üT. /\iri i,i i|§ }ruvr::r"u,:-1.:1\1.rú:,.j1;: 'r.r {\#1"}rú¡-,r;_}*a., i;:aj[ {2tr{tT:{:.r;$x 5rftvl,;:,í)5 aí"m L'tvt!t|ü f{),l¿ilfie ti\l_ nÁ.{t}#ntr;u Diüí,. ,(*} íf;:f:¡f ;'rl¿;lit;Z {.j,* '.,¿t;\<ts,,,l ryrf r";*;;3;;i * lZ,fl*:tt¡ l-"^{:¡ )pg Grupo lmagen Mult¡media l;i','';;i;i1¡,, *ítrt tj* ff{ l^§.rrtí..",.r:'::, t: i.tii:,t;"¿:,4-lr.';;:¡ ^ !',,r1*i* §..f."* Grupo rmagen Multimedia § úry'$ i d) ¡?t .üw,wñtto& {rspflcf}:t{Á Br ¡"Ás Esf ACtü,§45 ?&oprEürr.D i)t. -
The Producing Process 3
03-Schultz.qxd 6/29/2004 12:34 PM Page 37 The Producing Process 3 y now, you have a pretty good idea of what a producer does to get B a newscast on the air. So far, we have only talked about these duties in the abstract sense. It is now time to take a closer look at the step-by-step process of putting a show together. Story Ideas and News Value A newscast starts with a series of story ideas, which are nothing more than potential ideas that could eventually end up in the show. Story ideas come from a variety of sources, and the good producer will often come to work with several story ideas already formulated. These may come from other media, be follow-ups from stories done the previous day, or be a consequence of personal observation (see Table 3.1 for examples). Producers like their reporters to come to work with story ideas, and reporters should have some concrete suggestions for stories, even if these ideas never pan out. Too many reporters show up with the expectation that producers will have a story already assigned to them. This can waste a lot of precious news time as reporters scramble to try and set up a story or contact news sources. Producers and reporters will suggest their story ideas at the editorial meeting, where they and the news director will discuss events going on in the area. The purpose of the meeting is to consider all possible story ideas and narrow them down to a list of stories that will go in the newscast. -
THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS
THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 43rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Daytime Emmy Awards To be held at the Westin Bonaventure Hotel and Suites on May 1st Daytime Creative Arts Emmy® Awards Gala on April 29th Individual Achievement in Animation Honorees Announced New York – March 24th, 2016 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 43rd Annual Daytime Emmy® Awards. The awards ceremony will be held at the Westin Bonaventure Hotel and Suites on Sunday, May 1st. The Daytime Creative Arts Emmy Awards will also be held at the Bonaventure on Friday, April 29th, 2016. The 43rd Annual Daytime Emmy Award Nominations were revealed today on the Emmy-winning show, “The Talk,” on CBS. “After last year’s critically successful Daytime telecast, it is with great disappointment that The National Academy of Television Arts & Sciences (NATAS) announces that there will not be a broadcast of the 43rd Annual Daytime Emmy ® Awards,” said Bob Mauro, President. “After months of negotiations to find show sponsorship, the NATAS Executive Board has decided that the current climate for awards shows prohibits the possibility of a telecast this year. With that said, we will be putting on a world-class awards celebration honoring the best and brightest of Daytime television and look forward to an exciting show. All efforts regarding returning the annual gala to television in 2017 are underway.” “We are especially grateful for our passionate Daytime fans and are looking forward to producing a grand gala that honors the talents and artistries of all the professionals that represent Daytime television,” said David Michaels, SVP, Daytime Emmy Awards. -
50Th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED
1 50th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED The 50th Annual Northern California Area EMMY® Awards were presented Saturday evening, June 5th for the second time via webcast only. The EMMY® Award is presented for outstanding achievement in television by The National Academy of Television Arts & Sciences (NATAS). San Francisco/ Northern California is one of the nineteen chapters awarding regional Emmy® statues. Northern California is composed of media companies and individuals from Visalia to the Oregon border and includes Hawaii and Reno, Nevada. Entries aired during the 2020 calendar year. A total of 912 entries were received, 765 English and 195 Spanish in 68 English Categories and 34 Spanish Categories. Nominations were announced on May 5th with 195 English and 76 Spanish. Electronic ballots were submitted by a minimum of seven peer judges from other NATAS chapters and were sent directly to our accountant. The Spanish and English awards are judged and scored separately and then presented at the ceremony. 353 Emmy® statues were handed out to 263 individuals. The top two recipients were Maikel D'Agostino, Photograpoher/Editor, KUVS Unvision 19, Sacramento with ten, and Jonathan Bloom, Video Journalist, KNTV NBC Bay Area, with Six. The Emmy® is awarded to individuals but there is a lot of interest in the station counts: KNTV NBC Bay Area took home 16 for the English contest and KUVS Univision 19 with 12 for the Spanish contest. The overall Excellence Emmy® awards went to KNTV NBC Bay Area, English and KUVS Univision 19, Spanish. The prestigious Governors’ Award, the highest honor a regional chapter can award was presented to Wayne Freedman, Reporter, KGO ABC 7, San Francisco. -
The Producer Written by Ivo Burum
The Producer written by Ivo Burum There are various producer titles each relating to a role in the development, production, delivery and marketing cycle of a film, video, or online media project. Figure 1 Shows a hierarchical order of producing for a magazine and a current affairs show.: Executive Producer or EP credits in television are received by individual(s) who report to the networks, studios, or companies funding and distributing the series/show. The Executive Producer (Showrunner) has final responsibility for the creative and business aspects of producing a series. S/he will have direct authority over a majority of the producing functions throughout all phases of series production. The Executive Producer is often responsible for the creation of the series, including the concept, format and other production elements. Over the course of production, the Executive Producer is expected to serve as the primary point-of-contact with the network, studio, and/or production company regarding the development, production, post-production and marketing of the series. During development of the pilot and/or series, the Executive Producer will supervise or participate in story or script meetings, approve all storylines, and supervise the creation of the series "bible.” The Executive Producer will select or approve the hiring of all series directors, as well as the casting of all on camera talent including hosts and journalists. S/he will similarly select or approve of the hiring of key members of the producing team, such as the production manager, director of photography, and composer. The Executive Producer must supervise or approve the series budget and production schedule. -
Presentación De Powerpoint
4Q 2020 This Presentation makes reference to certain non-IFRS measures. These non-IFRS measures are not recognized measures under IFRS, do not have a standardized meaning prescribed by IFRS and are therefore unlikely to be comparable to similar measures presented by other companies. These measures are provided as additional information to complement IFRS measures by providing further understanding of TV Azteca, S.A.B de C.V.´s (“TV Azteca”, “Azteca” or the “Company”) results of operations from a management perspective. Accordingly, they should not be considered in isolation nor as a substitute for analysis of TV Azteca's financial information reported under IFRS. Forward-Looking Statements This Presentation contains “forward-looking statements” within the meaning of the safe harbor provisions of the U.S. Private Securities Litigation Reform Act of 1995. Forward- looking statements can be identified by words such as: “anticipate,” “plan,” “believe,” “estimate,” “expect,” “strategy,” “should,” “will,” “seek,” “forecast,” and similar references to future periods. Examples of forward-looking statements include, among others, statements concerning the Company’s business outlook, future economic performance, anticipated profitability, revenues, expenses, or other financial items, market share, market growth rates, market demand, product or services growth. Forward-looking statements are neither historical facts nor assurances of future performance. Instead, they are estimates that reflect the best judgment of TV Azteca’s management based on currently available information. Because forward-looking statements relate to the future, they involve a number of risks, uncertainties and other factors that are outside of its control and could cause actual results to differ materially from those stated in such statements. -
Tv Azteca, S Tv Azteca, S.A.B. De C.V
OFFERING CIRCULAR TV AZTECA, S.A.B. DE C.V. Medium Term Note Programme Due from Three Hundred and Sixty Days to Ten Years from the Date of Issue TV Azteca, S.A.B. de C.V. ("Azteca" or the "Issuer") may from time to time issue medium term notes (the "Notes") under the programme (the "Programme") described in this Offering Circular. All Notes having the same interest payment dates, issue price and maturity date, bearing interest at the same rate and the terms of which are otherwise identical constitute a "Series." The Notes will have the following characteristics: The Notes may be issued in any currency. The Notes will have maturities of not less than 360 days nor more than ten years. The maximum principal amount of all Notes from time to time outstanding under the Programme will not exceed US$500,000,000 (or its equivalent in other currencies calculated as described in the Programme Agreement). The Notes may be issued at their nominal amount or at a premium over or discount to their nominal amount and/or may bear interest at a fixed rate or floating rate. The Notes will be issued in either registered or bearer form. The Notes will be jointly and severally guaranteed by Azteca International Corporation, Azteca Novelas, S.A. de C.V., Estudios Azteca, S.A. de C.V., Inversora Mexicana de Producción, S.A. de C.V., Operadora Mexicana de Televisión, S.A. de C.V. and Televisión Azteca, S.A. de C.V. (the "Guarantors" and each a "Guarantor"). The Notes may be issued as unsecured Notes or as secured Notes. -
TV Azteca in Grupo Salinas
2Q 2021 This Presentation makes reference to certain non-IFRS measures. These non-IFRS measures are not recognized measures under IFRS, do not have a standardized meaning prescribed by IFRS and are therefore unlikely to be comparable to similar measures presented by other companies. These measures are provided as additional information to complement IFRS measures by providing further understanding of TV Azteca, S.A.B de C.V.´s (“TV Azteca”, “Azteca” or the “Company”) results of operations from a management perspective. Accordingly, they should not be considered in isolation nor as a substitute for analysis of TV Azteca's financial information reported under IFRS. Forward-Looking Statements This Presentation contains “forward-looking statements” within the meaning of the safe harbor provisions of the U.S. Private Securities Litigation Reform Act of 1995. Forward- looking statements can be identified by words such as: “anticipate,” “plan,” “believe,” “estimate,” “expect,” “strategy,” “should,” “will,” “seek,” “forecast,” and similar references to future periods. Examples of forward-looking statements include, among others, statements concerning the Company’s business outlook, future economic performance, anticipated profitability, revenues, expenses, or other financial items, market share, market growth rates, market demand, product or services growth. Forward-looking statements are neither historical facts nor assurances of future performance. Instead, they are estimates that reflect the best judgment of TV Azteca’s management based on currently available information. Because forward-looking statements relate to the future, they involve a number of risks, uncertainties and other factors that are outside of its control and could cause actual results to differ materially from those stated in such statements. -
The Missing Reform: Strengthening Rule of Law in Mexico
The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD Producing a book like this is always a team effort and, in addition to the individual chapter authors, we would especially like to thank the Mexico Institute and Wilson Center team who gave so many hours to edit, design, and produce this book. In particular, we would like to mention Angela Robertson, Kathy Butterfield, and Lucy Conger for their dedication as well as their professional skill. Woodrow Wilson International Center for Scholars. One Woodrow Wilson Plaza 1300 Pennsylvania Avenue NW, Washington, DC 20004-3027 www.wilsoncenter.org Woodrow Wilson International Center for Scholars ISBN 978-1-938027-76-5 Table of Contents ACKNOWLEDGEMENTS INTRODUCTION / 1 SECTION 1 / 18 Corruption / 18 The Justice System / 44 Democracy and Rule of Law / 78 Business Community / 102 Public Opinion / 124 Media and the Press / 152 SECTION 2 / 182 Education / 182 Transparency / 188 Competition / 196 Crime Prevention / 202 Civil Society / 208 Congress and Political Parties / 214 Energy / 224 Land Tenure / 232 Anticorruption Legislation / 240 Police Forces / 246 Acknowledgements This book collects the intelligence, commitment, and support of many. It comprises the research, ideas and hopes of one of the most talented pools of Mexican professionals who day-to-day, in different spheres, work to strengthen rule of law in their own country. Collaborating with them has been among the highest honors of my career. I cannot thank them enough for believing in this project. -
Freedom of the Press 2009
Freedom of the Press 2009 FURTHER DECLINES IN GLOBAL MEDIA INDEPENDENCE Selected data from Freedom House’s annual survey of press freedom Acknowledgments Freedom of the Press 2009 could not have been completed without the contributions of numerous Freedom House staff and consultants. The following section, entitled “The Survey Team,” contains a detailed list of writers without whose efforts this project would not have been possible. Karin Deutsch Karlekar, a senior researcher at Freedom House, served as managing editor of this year’s survey. Extensive research, editorial, and administrative assistance was provided by Denelle Burns, as well as by Sarah Cook, Tyler Roylance, Elizabeth Floyd, Joanna Perry, Joshua Siegel, Charles Liebling, and Aidan Gould. Overall guidance for the project was provided by Arch Puddington, director of research, and by Christopher Walker, director of studies. We are grateful for the insights provided by those who served on this year’s review team, including Freedom House staff members Arch Puddington, Christopher Walker, Karin Deutsch Karlekar, Sarah Cook, and Tyler Roylance. In addition, the ratings and narratives were reviewed by a number of Freedom House staff based in our overseas offices. This report also reflects the findings of the Freedom House study Freedom in the World 2009: The Annual Survey of Political Rights and Civil Liberties. Statistics on internet usage were taken from www.internetworldstats.com. This project was made possible by the contributions of the Asia Vision Foundation, F. M. Kirby, Free Voice, Freedom Forum, The Hurford Foundation, John S. and James L. Knight Foundation, Lilly Endowment Inc., The Lynde and Harry Bradley Foundation, the National Endowment for Democracy, The Nicholas B. -
Complaint05-Cv-00004Fernandez.Pdf
FLED UNITED STATES DISTRICT COURT JAN 0 4 2og5 FOR THE DISTRICT OF COLUMBIA NANCY MAYER WHITTINGTON, CLERK U.S. DISTRICT COURT SECURITIES AND EXCHANGE COMMISSION, § 801 Cheny St., 19th Floor § Fort Worth, Texas 76102 § Plaintiff, CASE NUMBER 1 : €?SCVC?t70t34 V. JU-D E : Emmet G . Sullivan ., AZTECA HOLDINGS, DECK TYPE % General evil T.V. AZTECA, S .A. de C.V S.A. de C.V., RICARDO SALINAS PLIEGO,DATE STAMP : 04/20001 / 5 PEDRO PADILLA LONGORIA, and LUIS ECHARTE FERNANDEZ, Defendants . COMPLAINT Plaintiff, the United States. Securities and Exchange Commission (the "Commission"), files this Complaint against TV Azteca, S .A. de C.V., Azteca Holdings, S .A. de C.V., Ricardo B . Salinas Pliego, Pedro Padilla Longoria and Luis Echarte Fernandez and would respectfully show the Court as follows : SUMMARY 1 . Ricardo B. Salinas Pliego ("Salinas"), Pedro Padilla Longoria. ("Padilla"). and Luis Echarte, Fernandez ("Echarte"), officers and directors of TV Azteca, S .A. de C.V. ("TV Azteca"), a .Mexican reporting company with securities listed on the New York Stock Exchange and its parent corporation, Azteca Holdings, S.A. de C.V . ("Azteca Holdings"), a Mexican company with securities traded on the Over-the -Counter Bulletin Board, engaged in a scheme to violate the antifraud, reporting, certification, books and records, and internal controls provisions of the U.S . federal securities laws. - SEC v. TV Avoca, S.A- de C. V., et al. COMPLAINT Page - 1 2. Recognizing an oppo rtunity to reap a tremendous personal profit at the expense of investors located in the United States and Mexico, Salinas coordinated a scheme to conceal from TV Azteca' s board of directors , the Commission and the investing public the related party nature of several transactions involving the settlement of a contractual dispute between Nortel Networks Corporation ("Nortel") and Unefon, S .A. -
TV Azteca 2T19 Esp
2T 2019 La siguiente información contiene o pudiera contener expresiones identificadas con resultados futuros. Por su naturaleza, estas expresiones proyectadas involucran riesgos e incertidumbre. Las cifras pueden variar de las proyectadas debido a factores que van más allá del control de la compañía. La compañía se reserva el derecho de actualizar o revisar cualquiera de las cifras como resultados de nueva información, eventos futuros y otros. 2 TV Azteca en Grupo Salinas Financiamiento al Medios Telecomunicaciones Energía Responsabilidad consumo y comercio y otros social especializado Más de 106,000 empleos directos Presencia en México, EUA, Colombia, Guatemala, Honduras, Panamá y Perú 3 TV Azteca El segundo productor de contenido más grande de México 26 92 millones de personas de audiencia al mes ~93% 36% del Uno de los dos productores más grandes de contenido en español del mercado nacional de los hogares años de publicidad en mundo TV abierta en en México de experiencia UDM 2T19 Contenido producido se ha comercializado en más de 100 países en México Transmisiones en México, Guatemala y Honduras Listada en la Bolsa Mexicana de Valores (BMV) y en España (Latibex) 54 estudios Una de las 20 de producción de marcas más contenido digital, HD, 4K y multi-plataformas valiosas en México +46,000 4 canales horas nacionales de contenido producidas en HD en 2018 por televisión abierta 4 Estrategias para mantener la sólida posición en el mercado Azteca uno: programas de entretenimiento en vivo, apegados a la realidad y en idioma original de la audiencia. Dirigido al jefe de familia. Azteca 7: Contenido innovador y de alta calidad (series de ficción premium, deportes, entre otros).