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Annual Report 2018
Pakistan Telecommunication Company Limited Company Telecommunication Pakistan PTCL PAKISTAN ANNUAL REPORT 2018 REPORT ANNUAL /ptcl.official /ptclofficial ANNUAL REPORT Pakistan Telecommunication /theptclcompany Company Limited www.ptcl.com.pk PTCL Headquarters, G-8/4, Islamabad, Pakistan Pakistan Telecommunication Company Limited ANNUAL REPORT 2018 Contents 01COMPANY REVIEW 03FINANCIAL STATEMENTS CONSOLIDATED Corporate Vision, Mission & Core Values 04 Auditors’ Report to the Members 129-135 Board of Directors 06-07 Consolidated Statement of Financial Position 136-137 Corporate Information 08 Consolidated Statement of Profit or Loss 138 The Management 10-11 Consolidated Statement of Comprehensive Income 139 Operating & Financial Highlights 12-16 Consolidated Statement of Cash Flows 140 Chairman’s Review 18-19 Consolidated Statement of Changes in Equity 141 Group CEO’s Message 20-23 Notes to and Forming Part of the Consolidated Financial Statements 142-213 Directors’ Report 26-45 47-46 ہ 2018 Composition of Board’s Sub-Committees 48 Attendance of PTCL Board Members 49 Statement of Compliance with CCG 50-52 Auditors’ Review Report to the Members 53-54 NIC Peshawar 55-58 02STATEMENTS FINANCIAL Auditors’ Report to the Members 61-67 Statement of Financial Position 68-69 04ANNEXES Statement of Profit or Loss 70 Pattern of Shareholding 217-222 Statement of Comprehensive Income 71 Notice of 24th Annual General Meeting 223-226 Statement of Cash Flows 72 Form of Proxy 227 Statement of Changes in Equity 73 229 Notes to and Forming Part of the Financial Statements 74-125 ANNUAL REPORT 2018 Vision Mission To be the leading and most To be the partner of choice for our admired Telecom and ICT provider customers, to develop our people in and for Pakistan. -
February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
The Practice of Advertising to Jan, Always the Practice of Advertising
The Practice of Advertising To Jan, always The Practice of Advertising Edited by Adrian R. Mackay Fifth edition AMSTERDAM ● BOSTON ● HEIDELBERG ● LONDON ● NEW YORK ● OXFORD PARIS ● SAN DIEGO ● SAN FRANCISCO ● SINGAPORE ● SYDNEY ● TOKYO Elsevier Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Drive, Burlington, MA 01803 First published 1978 Reprinted 1981 Second edition 1983 Reprinted 1984, 1985, 1986 Third edition 1990 Reprinted 1990, 1993 Fourth edition 1995 Reprinted 1996, 2001 Fifth edition 2005 Copyright © 2005, Elsevier Ltd. All rights reserved No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ144) 1865 843830, fax: (ϩ144) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://www.elsevier.com), by selecting ‘Customer Support’ and then ‘Obtaining Permissions’ -
Annual Report 2012
NEWS CORP. ANNU AL REPO RT 2012 NEWSANNUAL REPORT 2012 1211 Avenue of the Americas New York, NY 10036 www.newscorp.com C O RP. 425667.COVER.CX.CS5.indd 1 8/29/12 5:21 PM OUR AIM IS TO UNLOCK MORE VALUE FOR OUR STOCKHOLDERS 425667.COVER.CS5.indd 2 8/31/12 9:58 AM WE HAVE NO INTENTION OF RESTING ON OUR LAURELS WE ARE ALWAYS INVESTING IN THE NEXT GENERATION 425667.TEXT.CS5.indd 2 8/28/12 5:10 PM 425667.TEXT.CS5.indd 3 8/27/12 8:44 PM The World’s LEADER IN QUALITY JOURNALISM 425667.TEXT.CS5.indd 4 8/28/12 5:11 PM A LETTER FROM Rupert Murdoch It takes no special genius to post good earnings in a booming economy. It’s the special company that delivers in a bad economic environment. At a time when the U.S. has been weighed down by its slowest recovery since the Great Depression, when Europe’s currency threatens its union and, I might add when our critics flood the field with stories that refuse to move beyond the misdeeds at two of our papers in Britain, I am delighted to report something about News Corporation you Rupert Murdoch, Chairman and Chief Executive Officer might not know from the headlines: News Corporation In 2012, for the second year in a row, we have brought our stockholders double-digit growth in total segment operating income. FOR THE SECOND We accomplished this because we do not consider ourselves a conventional YEAR IN A ROW, company. -
Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
ANNUAL REPORT 2015 16 A70 TV Acad Ad.Qxp Layout 1 7/8/16 11:43 AM Page 1
ANNUAL REPORT 2015 16_A70_TV_Acad_Ad.qxp_Layout 1 7/8/16 11:43 AM Page 1 PROUD MEMBER OF »CBS THE TELEVISION ACADEMY 2 ©2016 CBS Broadcasting Inc. MESSAGE FROM THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER AS THE QUANTITY AND QUALITY OF CONTENT HAVE INCREASED in what is widely regarded as television’s second Golden Age, so have employment opportunities for the talented men and women who create that programming. And as our industry, and the content we produce, have become more relevant, so has the relevance of the Television Academy increased as an essential resource for television professionals. In 2015, this was reflected in the steady rise in our membership — surpassing 20,000 for the first time in our history — as well as the expanding slate of Academy-sponsored activities and the heightened attention paid to such high-profile events as the Television Academy Honors and, of course, the Creative Arts Awards and the Emmy Awards. Navigating an industry in the midst of such profound change is both exciting and, at times, a bit daunting. Reimagined models of production and distribution — along with technological innovations and the emergence of new over-the-top platforms — have led to a seemingly endless surge of creativity, and an array of viewing options. As the leading membership organization for television professionals and home to the industry’s most prestigious award, the Academy is committed to remaining at the vanguard of all aspects of television. Toward that end, we are always evaluating our own practices in order to stay ahead of industry changes, and we are proud to guide the conversation for television’s future generations. -
2017 Agency Family Tree
2017 GLOBAL AGENCY FAMILY TREE TOP 10 WPP OMNICOM Publicis Groupe INTERPUBLIC Dentsu HAVAS HAKUHODO DY MDC Partners CHEIL BlueFocus (Revenue US 17,067M) (Revenue US 15,417M) (Revenue US 10,252M) (Revenue US 7,847M) (Revenue US 7,126M) (Revenue US 2,536M) (Revenue US 2,282M) (Revenue US 1,370M) (Revenue US 874M) (Revenue US 827M) OGILVY GROUP WPP DIGITAL BBDO WORLDWIDE PUBLICIS COMMUNICATIONS MEDIABRANDS DENTSU INC. DENTSU AEGIS NETWORK HAVAS CREATIVE GROUP HAKUHODO HAKUHODO MDC PARTNERS CHEIL WORLDWIDE DIGITAL Ogilvy & Mather ACCELERATION BBDO Worldwide Publicis Worldwide Ansible Dentsu Inc. Other Agencies Havas Worldwide Hakuhodo Hakuhodo 6degrees Cheil Worldwide BlueDigital OgilvyOne Worldwide BLUE STATE DIGITAL Proximity Worldwide Publicis BPN DENTSU AEGIS NETWORK Columbus Arnold Worldwide ADSTAFF-HAKUHODO Delphys Hakuhodo International 72andSunny Barbarian Group Phluency Ogilvy CommonHealth Worldwide Cognifide Interone Publicis 133 Cadreon Dentsu Branded Agencies Copernicus Havas Health Ashton Consulting Hakuhodo Consulting Asia Pacific Sundae Beattie McGuinness Bungay Madhouse Ogilvy Government Relations F.BIZ Organic Publicis Activ Identity Dentsu Coxinall BETC Backs Group Grebstad Hicks Communications Allison + Partners McKinney Domob Ogilvy Public Relations HOGARTH WORLDWIDE Wednesday Agency Publicis Africa Group Initiative DentsuBos Inc. Crimson Room FullSIX Brains Work Associates Taiwan Hakuhodo Anomaly Cheil Pengtai Blueplus H&O POSSIBLE DDB WORLDWIDE Publicis Conseil IPG Media LAB Dentsu-Smart LLC deepblue HAVAS MEDIA GROUP -
ADDY Winners Book
ADDY Winners Book 10 District Ten 09 AAF - Dallas SALES PROMOTION Product or Service Sales Presentation 01 A Catalog Award: Gold ADDY® Award and BEST OF SHOW - PRINT Entrant: David Sutherland, Inc. Advertiser: Sutherland/Perennials Title: Nocturne 01 B Sales Kits or Product Information Sheets Award: Gold ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Samsung Craft Executive Kit Award: Gold ADDY® Award and SPECIAL JUDGES AWARD Entrant: TracyLocke Advertiser: 7-Eleven Title: 7-Eleven Cowboys & Aliens Box Award: Silver ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Sprint Epic 4G Dealer Kit Award: Silver ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Samsung Acclaim Executive Kit Award: Silver ADDY® Award Entrant: Launch Agency Advertiser: smart USA Title: smart USA: Fleet Kits Award: Silver ADDY® Award Entrant: Launch Agency Advertiser: smart USA Title: smart USA: Product Information Sheets Award: Silver ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Sprint Galaxy Tab Executive Kit Award: Bronze ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Rugby2 Dealer Kit Award: Bronze ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Evergreen Dealer Kit Award: Bronze ADDY® Award Entrant: MWW Group Advertiser: Samsung Telecommunications America Title: Sprint Restore Award: Bronze ADDY® Award Entrant: MWW Group Advertiser: Samsung -
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.. -
Apigee X Migration Offering
Apigee X Migration Offering Overview Today, enterprises on their digital transformation journeys are striving for “Digital Excellence” to meet new digital demands. To achieve this, they are looking to accelerate their journeys to the cloud and revamp their API strategies. Businesses are looking to build APIs that can operate anywhere to provide new and seamless cus- tomer experiences quickly and securely. In February 2021, Google announced the launch of the new version of the cloud API management platform Apigee called Apigee X. It will provide enterprises with a high performing, reliable, and global digital transformation platform that drives success with digital excellence. Apigee X inte- grates deeply with Google Cloud Platform offerings to provide improved performance, scalability, controls and AI powered automation & security that clients need to provide un-parallel customer experiences. Partnerships Fresh Gravity is an official partner of Google Cloud and has deep experience in implementing GCP products like Apigee/Hybrid, Anthos, GKE, Cloud Run, Cloud CDN, Appsheet, BigQuery, Cloud Armor and others. Apigee X Value Proposition Apigee X provides several benefits to clients for them to consider migrating from their existing Apigee Edge platform, whether on-premise or on the cloud, to better manage their APIs. Enhanced customer experience through global reach, better performance, scalability and predictability • Global reach for multi-region setup, distributed caching, scaling, and peak traffic support • Managed autoscaling for runtime instance ingress as well as environments independently based on API traffic • AI-powered automation and ML capabilities help to autonomously identify anomalies, predict traffic for peak seasons, and ensure APIs adhere to compliance requirements. -
Channel Lineup
Channel Lineup The EpicVue package includes the Core lineup, NFL Sunday Ticket and your choice of either HBO/Cinemax or Showtime Unlimited. CORE PACKAGE 265 A&E 291 Disney Channel (West) 240 Home Shopping Network 344 Son Life Broadcasting Network 361 AccuWeather 289 Disney Junior 364 Inspiration 241 Spike TV 254 AMC 292 Disney XD 285 Investigation Discovery 244 Syfy 324 America's Auction Network 236 E! Entertainment Television 305 ION Television (East) 247 TBS 282 Animal Planet 206 ESPN 306 ION Television (West) 256 Turner Classic Movies 239 AUDIENCE 209 ESPN2 313 Jewelry Television 377 TCT Network 264 BBC America 207 ESPNews 252 Lifetime 303 TeenNick 610 Big Ten Network 208 ESPNU 375 Link TV 280 The Learning Channel 329 BET 316 EVINE 253 Lifetime Movie Network 362 The Weather Channel 353 Bloomberg Television 370 EWTN 214 MAVTV 373 The Word Network 237 Bravo 231 Food Network 356 MSNBC 245 TNT 374 BYU- TV 360 FOX News Channel 331 MTV 277 Travel Channel 296 Cartoon Network (East) 219 FOX Sports 1 332 MTV2 372 Trinity Broadcast Network 297 Cartoon Network (West) 311 Freeform 276 National Geographic 246 TruTV 376 Christian Television Network (CTN) 348 Free Speech TV 301 Nick Jr 304 TV Land 327 CMT 248 FX 299 Nickelodoen/Nick at Nite (East) 402 Univision East 355 CNBC 259 FXX 300 Nickelodoen/Nick at Nite (West) 338 Uplift 357 CNBC World 404 Galavision 378 NRB 242 USA Network 202 CNN 233 Game Show Network 274 Ovation 335 VH1 249 Comedy Central 228 GEM Shopping Network 273 POP 271 VICELAND 350 C-SPAN 312 Hallmark Channel 604 Pursuit Channel -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America.