Our Strategy OUR STRATEGY FOUR KEY TRENDS SHAPING RTL GROUP’S STRATEGY THREE PRIORITIES for LONG-TERM GROWTH
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Annual Report 2019 Key Figures
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % RTL Group share price development PROSIEBENSAT1 for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€)(%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00***** 4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
Edition 2016 Entertain. Inform. Engage
EDITION 2016 FULL YEAR RESULTS ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PRICE PERFORMANCE 01/01/2016 – 31/12/2016 + 6.8 % MDAX INDEX = 100 – 7.6 % EURO STOXX 600 MEDIA – 9.5 % RTL GROUP – 21.7 % PROSIEBENSAT1 RTL Group share price development for January to December 2016 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media and ProSiebenSat1 11.5 % OTHER 10.7 % DIGITAL 48.0 % 21.2 % TV ADVERTISING CONTENT 4.5 % PLATFORM REVENUE 4.1 % RADIO ADVERTISING RTL Group Revenue Split In 2016, TV advertising accounted for 48.0 per cent of RTL Group’s total revenue, making the Group one of the most diversified groups when it comes to revenue. Content represented 21.2 per cent of the total, while greater exposure to fast-growing digital revenue streams and higher margin platform revenue will further improve the mix. 2 RTL Group Full-year results 2016 Key figures REVENUE 2012 – 2016 (€ million) EBITA 2012 – 2016 (€ million) 16 6,237 16 1,205 15 6,029 15 1,167 14 5,808 14 1,144* 13 5,824* 13 1,148** 12 5,998 12 1,078 * Restated for IFRS 11 * Restated for changes in purchase price allocation ** Restated for IFRS 11 NET PROFIT ATTRIBUTABLE TO RTL GROUP SHAREHOLDERS 2012 – 2016 (€ million) EQUITY 2012 – 2016 (€ million) 16 720 16 3,552 15 789 15 3,409 14 652* 14 3,275* 13 870 13 3,593 12 597 12 4,858 * Restated for changes in purchase price allocation * Restated for changes in purchase price allocation TOTAL DIVIDEND/ MARKET CAPITALISATION* 2012 – 2016 (€ billion) DIVIDEND YIELD PER SHARE 2012 – 2016 (€ ) (%) 16 10.7 16 -
Apple TV+ Book Noviembre2019 Una Publicación De
revista sobre programación de plataformas 186/noviembre/2019 de televisión de pago en españa ejemplar gratuito Apple TV+ book noviembre2019 una publicación de www.neeo.es Sony Pictures Television Networks Iberia, S.L. Turner Broadcasting System España The Walt Disney Company Iberia Discovery Networks International Canal Cosmopolitan Iberia AMC Networks International | Iberia NBC Universal Global Networks España Viacom International Media Networks Fox Networks Group España neeo no se responsabiliza de los DTS Distribuidora de Televisión Digital posibles cambios que puedan Netflix España realizar los diversos canales en su TV5Monde programación. HBO España Amazon.com, Inc Ejemplar gratuito. cine y series s extra amazon prime video sundancetv canal cocina amc tcm decasa apple tv+ tnt axn xtrm axn white música calle 13 sol música canal hollywood infantil comedy central canal panda cosmo nick jr. dark nickedoleon filmin fox fox life hbo españa documentales movistar estrenos blaze movistar cinedoc&roll cazavisión movistar series crimen + investigación mtv discovery channel netflix historia paramount network national geographic sky odisea starzplay somos book cine series book amazon prime video 4K amazon.com, inc. 2ª Temporada Tom Clancy´s Jack Ryan En la segunda temporada de Tom Clancy’s Jack Ryan, tras rastrear un sospechoso envío de armas ilegales en la selva venezolana, el oficial de la CIA Jack Ryan, interpretado por John Krasinski (Un lugar tranquilo), se dirige a Sudamérica para investigar. Cuando la investigación de Jack amenaza con desenmascarar una conspiración de gran alcance, el presidente de Venezuela lanza un contrataque que golpea a Jack en su propio hogar, conduciéndole a él y a sus operativos a una misión global que los llevará a Estados Unidos, Reino Unido, Rusia y Venezuela para desarmar el perverso plan del presidente y llevar estabilidad a un país al borde del caos. -
EUROPEAN COMMISSION Brussels, 14.9.2016 SWD(2016) 301 Final
EUROPEAN COMMISSION Brussels, 14.9.2016 SWD(2016) 301 final PART 1/3 COMMISSION STAFF WORKING DOCUMENT IMPACT ASSESSMENT on the modernisation of EU copyright rules Accompanying the document Proposal for a Directive of the European Parliament and of the Council on copyright in the Digital Single Market and Proposal for a Regulation of the European Parliament and of the Council laying down rules on the exercise of copyright and related rights applicable to certain online transmissions of broadcasting organisations and retransmissions of television and radio programmes {COM(2016) 593} {COM(2016) 594} {SWD(2016) 302} EN EN 1. INTRODUCTION ...................................................................................................... 6 1.1. EU COPYRIGHT RULES ................................................................................................. 6 1.2. POLICY CONTEXT ........................................................................................................ 7 2. OBJECTIVES AND SCOPE OF THE INITIATIVE ............................................. 9 2.1. OBJECTIVES ................................................................................................................. 9 2.2. SCOPE ........................................................................................................................... 9 3. ENSURING WIDER ACCESS TO CONTENT ................................................... 10 3.1. INTRODUCTION ......................................................................................................... -
ZWEITES DEUTSCHES FERNSEHEN Anstalt Des Öffentlichen Rechts DER INTENDANT T Ä T I G K E I T S B E R I C H T Des Intendanten In
ZWEITES DEUTSCHES FERNSEHEN 24.06.2016 Anstalt des öffentlichen Rechts DER INTENDANT T Ä T I G K E I T S B E R I C H T des Intendanten in der 17. Sitzung der XIV. Amtsperiode des Fernsehrates am 08. Juli 2016 Sehr geehrte Damen und Herren, der Ball rollt bei der Fußball-EM in Frankreich, und die Resonanz ist bis jetzt selbst für die Quotenverwöhnteren unter uns beeindruckend. Bis einschließlich 16.06.16 sahen durchschnittlich 11,40 Mio. Zuschauer die Live-Spiele im ZDF. Das entspricht einem Marktanteil von 47 %. Das von uns übertragene Spiel Deutschland gegen Polen am 16. Juni sahen im Schnitt fast drei Viertel aller Fernsehzuschauer. Der neue Austragungsmodus der EM mit erstmalig 24 Mannschaften führt bei unserem Publikum also bislang nicht zu einer Übersättigung – im Gegenteil. Das freut uns auch deshalb, weil wir im Umfeld dieses Events Zuschauerschichten erreichen, die uns sonst eher meiden. Das gilt für das „heute-journal“ in den Halbzeitpausen ebenso wie für hochwertige Dokumentationen und andere Informations- Angebote im Anschluss an die Übertragungen, auch und gerade solche ohne Fußball- Bezug. Die Fußball-EM ist nicht nur aus sportlicher Sicht spannend, sie bietet auch Anlass, den Blick auf die Situation des Gastgeberlandes nach den Terrorangriffen von Paris zu lenken. Und sie ist auch selbst Gegenstand unserer aktuellen Berichterstattung geworden, spätestens mit den Ausschreitungen sogenannter Fußballfans aus verschiedenen Ländern. Hier zeigt sich, wie wichtig bei aller Qualität des von der UEFA angebotenen Bildmaterials der Blick mit den eigenen Kameras auch in die Stadien und die Souveränität über das verbreitete Sendesignal sind. -
Labor Relations, 16Mm Film and Euston Films
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play. -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
Annual Report 2019
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % PROSIEBENSAT1 RTL Group share price development for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€)(%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00***** 4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
Zusammenfassungen Schen Spielen Eines Der Zuschauerattraktivsten Die Fußball-Europa- Sportlichen Ereignisse Im Fernsehen
Media Perspektiven 10/2016 | 530 ie Fußball-Europameisterschaft ist neben der Heinz Gerhard/ DFußball-Weltmeisterschaft und den Olympi- Stefan Geese Zusammenfassungen schen Spielen eines der zuschauerattraktivsten Die Fußball-Europa- sportlichen Ereignisse im Fernsehen. Bei der Euro- meisterschaft 2016 pameisterschaft 2016 in Frankreich reagierten die im Fernsehen Hanna Puffer as Mediennutzungsverhalten junger Onliner übertragenden Sender Das Erste, ZDF und Sat.1 Daten zur Rezeption Millennials im Dwird geprägt durch Mobilität und eine ausge- auf das hohe Zuschauerinteresse mit einer umfas- und Bewertung. Visier: Inhalte prägte Affinität zum Internet als Verbreitungsweg. senden Berichterstattung. Erstmals nahmen an der MP 10/2016, klassischer Medien Dabei werden auch Inhalte der traditionellen Me- EM-Endrunde in Frankreich 24 Mannschaften teil – S. 491-500 auf Onlineplatt- dienanbieter online genutzt. Fernseh- und Radio- im Vergleich zu den vorhergehenden Turnieren mit formen sender sowie Zeitungen und Zeitschriften reagieren 16 Teams. Dadurch erhöhte sich die Anzahl der Analyse der Web- mit neuen Angeboten auf diese Situation und ver- übertragenen Spiele auf 51. Das Erste und das ZDF angebote von Print-, suchen, neben ihren „klassischen“ Homepages mit verwendeten infolgedessen mit rund 140 Sende- TV- und Radiomarken neuen Plattformen junge Zielgruppen für sich zu stunden mehr Sendezeit auf Live-Übertragungen für Zielgruppen unter gewinnen. In den Jahren 2015 und 2016 starteten und Begleitberichterstattung als beim letzten Tur- 30 Jahren Magazine und Tageszeitungen, aber auch öffent- nier 2012. Sat.1 – das erstmals sechs zeitgleich MP 10/2016, lich-rechtliche und private Radio- und TV-Sender laufende Spiele der Vorrunde zeigte – kam insge- S. 482-490 Webportale mit dem Ziel, junge Nutzer zusätzlich samt auf rund 17 Sendestunden. -
Annual Report 2015 Entertain. Inform. Engage
Annual Report 2015 Entertain. Inform. Engage. Key fi gures SHARE PRICE PERFORMANCE 30/04/2013 – 31/12/2015* + 42.7 % )RTL GROUP + 54.5 % MDAX + 48.1 % DJ STOXX 600 INDEX = 100 * RTL Group shares have been listed in the Prime Standard of the Frankfurt Stock Exchange since 30 April 2013. RTL GROUP REVENUE SPLIT In 2015, TV advertising accounted for 49.4 per cent of RTL Group’s total revenue, making the Group one of the most diversified groups when it comes to revenue. Content represented 22 per cent of the total, while greater exposure to fast-growing digital revenue streams and higher margin platform revenue will further improve the mix. 11.8 % OTHER 8.4 % DIGITAL 49.4 % TV ADVERTISING 22.0 % CONTENT 4.1 % PLATFORM REVENUE 4.3 % RADIO ADVERTISING Key fi gures REVENUE 2011 – 2015 (€ million) EBITA 2011 – 2015 (€ million) 15 6,029 15 1,167 14 5,808 14 1,144* 13 5,824* 13 1,148** 12 5,998 12 1,078 11 5,765 11 1,134 * Restated for IFRS 11 * Restated for changes in purchase price allocation ** Restated for IFRS 11 NET PROFIT ATTRIBUTABLE TO RTL GROUP SHAREHOLDERS 2011 – 2015 (€ million) EQUITY 2011 – 2015 (€ million) 15 789 15 3,409 14 652* 14 3,275* 13 870 13 3,593 12 597 12 4,858 11 696 11 5,093 * Restated for changes in purchase price allocation * Restated for changes in purchase price allocation TOTAL DIVIDEND/ MARKET CAPITALISATION* 2011 – 2015 (€ billion) DIVIDEND YIELD PER SHARE 2011 – 2015 (€ )(%) 15 11.9 15 4.00* 4.9 14 12.2 14 5.50** 6.8 13 14.4 13 7.00*** 10.0 12 11.7 12 10.50 13.9 11 11.9 11 5.10 6.6 * As of 31 December * Including -
Media Weekly Broadcast
Media Weekly Broadcast https://www.acte.be/oldsite/acte.be/_old/newsletters/24/50/Issue-23bf6... Issue # 23 14 April 2016 Group CANAL+ and VICE Media announce new partnership Partnership will offer VICELAND, the brand new TV channel from VICE (global youth media company), exclusively to CANALSAT customers across all platforms. The network will launch in France this autumn with the Oscar-winning film director Spike Jonze, serving as The Association of Commercial co-President. The 24-hour channel will focus on an immersive style Television in Europe (ACT) is a of original lifestyle and culture content for young viewers that will trade body for the commercial include a slate of brand new VICE-produced French programming, broadcasting sector in Europe. capturing the stories, people, fashion and culture that matter most to Formed in 1989, the ACT has 27 young French audiences. It will be programmed, developed and member companies active in 37 produced entirely in-house. European countries, operating Read more and distributing several thousand free-to-air and pay-tv channels and new media services. Mediaset-Vivendi form alliance The agreement is aimed at combining the two companies' national leadership to pursue development opportunities within the new global scenario of the media sector. The agreement will foster the creation and distribution of new international contents by leveraging on the production strengths and cultural affinities of Italy, Spain and France. The alliance involves three highly innovative projects: (i) A new European major player for content creation; (ii) The first pan- European on-demand streaming content platform, and (iii) The inclusion of Mediaset Premium in a large international pay TV network. -
Annual Report 2019
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % PROSIEBENSAT1 RTL Group share price development for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€) (%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00*****4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020.