India's Trade Potential in Audio-Visual Services And
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Competition in Local Broadcast Television Advertising Markets Kevin Caves and Hal Singer August 4, 2014
Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) 2014 Quadrennial Regulatory Review – Review ) MB Docket No. 14-50 of the Commission’s Broadcast Ownership Rules ) and Other Rules Adopted Pursuant to Section ) 202 of the Telecommunications Act of 1996 ) ) 2010 Quadrennial Regulatory Review – Review ) MB Docket No. 09-182 of the Commission’s Broadcast Ownership Rules ) and Other Rules Adopted Pursuant to Section ) 202 of the Telecommunications Act of 1996 ) ) Promoting Diversification of Ownership ) MB Docket No. 07-294 in the Broadcasting Services ) ) Rules and Policies Concerning ) MB Docket No. 04-256 Attribution of Joint Sales Agreements ) in Local Television Markets ) ) Competition in Local Broadcast Television Advertising Markets Kevin Caves and Hal Singer August 4, 2014 -2- Introduction ..................................................................................................................................... 3 I. Background ......................................................................................................................... 4 A. The DOJ Asserts That Local Broadcast Television Advertising Is a Relevant Antitrust Product Market ........................................................................................ 4 B. The DOJ’s Position Lacks Empirical Support ........................................................ 5 II. Empirical Evidence Is Inconsistent with the DOJ’s Definition of the Relevant Product Market ................................................................................................................................ -
Newspaper Journalism Question Bank
UNIVERSITY OF CALICUT SCHOOL OF DISTANCE EDUCATION BA MULTIMEDIA (UG SDE) (2017 Admission onwards) II Semester Complementary Course NEWSPAPER JOURNALISM QUESTION BANK 1. Yellow journalism derived its name from an early comic character called ---------- a). Yellow kid b). Yellow boy c). Yellow girlie d). Yellow guy 2. Which is the face of the newspaper? a). Headlines b). Front page c). Edit page d). Masthead 3. Name the first communication satellite which was launched in 1962 a). Early Bird b). Intelset c). Intersputnik d). Insat 4. Which of the following was developed the earliest? a). AM Radio b). Television c). DRM d). DTH 5. --------------------- is associated with the invention of printing a). Franklin b). Johann Gutenberg c). Charles Babbage d). Marconi 6. Is the latest time at which a story can be accepted a) Dateline b) Deadline c)press time d) Print time 7. Some stories that wrap similar events into a single story is called a) Multiple story b) Round c)Capital story d)Same incident story 8. Small advertisements classified according to subject area and carrying no illustrations are known as a) Small ads b) News library c) Back volume stock. d) Classified 9. Leader writer is one who writes the ------------------------- a) Main story b) Middle article c) Editorial d) Edit page article 10. Is a detailed account of the coming event. a) Future story b) Advancer c)Curtain raiser d)Advance 11. Condensing a story is generally referred to as in the newspaper offices. a) Rewriting b) Miniaturizing c) Shortening d) Boiling down 12. Title registration of newspaper is done by: a) RNI b)DAVP c)PIB d)IPRD 13. -
Protective Trade Policy and Global Film Market
PROTECTIVE TRADE POLICY AND GLOBAL FILM MARKET: A CROSS- SECTIONAL ANALYSIS OF REGULATORY TRADE BARRIERS AND THEIR IMPACTS ON THE COMPETITIVE STATUS OF NATIONAL FILM INDUSTRIES 2000-2007 by CUNFANG REN (Under the Direction of Spencer F Tinkham) ABSTRACT Acknowledging the economic and cultural significance of developing national film industries, and in responding to the debate concerning cultural protectionism in the international community, this study aimed to investigate one key issue that would shed some light on the practical function of cultural protectionism, namely, do trade protectionism methods work? How do they work? Do they work toward their stated objectives? The research was conducted based on an investigation of six trade protective policies on the development of national film industries in 78 countries over an eight-year period from 2000 to 2007. It developed two composite TB indices and ten film performance measurement dimensions. The result found the criticisms on the negative impact of protective trade policies were exaggerated. Trade protective policies showed positive composite long-term effects on increasing film productions, market share, box office revenues, and film screens over the studied years. They also had short-term II contributions to increase film import diversity. The largest negative impact of trade protections was on export, but the impact was for a short-term only. Individually, quota was the most beneficial variable that showed significant contribution on eight film performance indicators. Subsidy was another contributing factor, but it was also most affected by time. Investment restrictions showed sustaining negative effects on consumer spending and admissions. The main negative impact of service restrictions was on film export. -
Broadcasting & Convergence
1 Namnlöst-2 1 2007-09-24, 09:15 Nordicom Provides Information about Media and Communication Research Nordicom’s overriding goal and purpose is to make the media and communication research undertaken in the Nordic countries – Denmark, Finland, Iceland, Norway and Sweden – known, both throughout and far beyond our part of the world. Toward this end we use a variety of channels to reach researchers, students, decision-makers, media practitioners, journalists, information officers, teachers, and interested members of the general public. Nordicom works to establish and strengthen links between the Nordic research community and colleagues in all parts of the world, both through information and by linking individual researchers, research groups and institutions. Nordicom documents media trends in the Nordic countries. Our joint Nordic information service addresses users throughout our region, in Europe and further afield. The production of comparative media statistics forms the core of this service. Nordicom has been commissioned by UNESCO and the Swedish Government to operate The Unesco International Clearinghouse on Children, Youth and Media, whose aim it is to keep users around the world abreast of current research findings and insights in this area. An institution of the Nordic Council of Ministers, Nordicom operates at both national and regional levels. National Nordicom documentation centres are attached to the universities in Aarhus, Denmark; Tampere, Finland; Reykjavik, Iceland; Bergen, Norway; and Göteborg, Sweden. NORDICOM Göteborg -
Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets. -
Laws for Journalists in India: an Overview
04.21 CURATED VOICES Laws for Journalists in India: An Overview Priyal Shah and Aakanksha Chaturvedi SPRF.IN TABLE OF CONTENTS 1. ABSTRACT 03 2. BACKGROUND 04 3. MEDIA LAWS 06 • PRESS COUNCIL OF INDIA 08 4. MAHARASHTRA MEDIA PERSONS ACT 08 5. CHHATTISGARH PROTECTION FOR JOURNALISTS BILL 10 • RESPONSIBILITIES OF A JOURNALIST 12 • MEDIA’S WATCHDOG 12 6. CONCLUSION 13 7. BIBLIOGRAPHY 14 If you have any suggestions, or would like to contribute, please write to us at [email protected] © Social and Political Research FoundationTM April 2021 CURATED VOICES Laws for Journalists in India: An Overview Priyal Shah and Aakanksha Chaturvedi ABSTRACT India has seen a significant rise in attacks against and killings of journalists in recent years, making it an increasingly hostile place to practice journalism. In the last two decades, India’s ranking on the World Press Freedom Index dropped from 80th to 142nd. This issue brief discusses the shortcomings in the Indian legal framework in creating a safer environment for media persons. The brief also discusses the deteriorating nature of journalistic norms and the role 4 | SOCIAL & POLITICAL RESEARCH FOUNDATION CURATED VOICES BACKGROUND Journalism, the fourth pillar of democracy, underpins sound governance and democratic accountability. The Indian Parliament defines a journalist as a person employed by a newspaper establishment as an editor, writer, reporter, correspondent, photographer, or proof-reader (Working Journalists and other Newspaper Employees and Miscellaneous Provisions Act 1955). Maintaining the safety of journalists is crucial to facilitating the exchange of information and news on matters of public interest. Over the years, there has been a steep decline in India’s performance on international indices that measure relative press freedom across countries. -
Cultural Imperialism Vs. Cultural Protectionism: Hollywood's Response to UNESCO Efforts to Promote Cultural Diversity Eireann Brooks
Journal of International Business and Law Volume 5 | Issue 1 Article 5 2006 Cultural Imperialism vs. Cultural Protectionism: Hollywood's Response to UNESCO Efforts to Promote Cultural Diversity Eireann Brooks Follow this and additional works at: http://scholarlycommons.law.hofstra.edu/jibl Recommended Citation Brooks, Eireann (2006) "Cultural Imperialism vs. Cultural Protectionism: Hollywood's Response to UNESCO Efforts to Promote Cultural Diversity," Journal of International Business and Law: Vol. 5: Iss. 1, Article 5. Available at: http://scholarlycommons.law.hofstra.edu/jibl/vol5/iss1/5 This Note is brought to you for free and open access by Scholarly Commons at Hofstra Law. It has been accepted for inclusion in Journal of International Business and Law by an authorized administrator of Scholarly Commons at Hofstra Law. For more information, please contact [email protected]. Brooks: Cultural Imperialism vs. Cultural Protectionism: Hollywood's Resp CULTURAL IMPERIALISM VS. CULTURAL PROTECTIONISM: HOLLYWOOD'S RESPONSE TO UNESCO EFFORTS TO PROMOTE CULTURAL DIVERSITY Eireann Brooks* I. SUMMARY The adoption of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions ("Convention on Cultural Diversity" or "the Treaty") by the United Nations Educational, Scientific & Cultural Organization ("UNESCO") in October 2005 was opposed only by the United States and its sole ally, Israel.1 U.S. concerns may be directly linked to the lucrative, long- standing tradition of deriving great profit from international film distribution. The Convention on Cultural Diversity threatens to curtail Hollywood's ability to generate revenue from overseas markets at its current rate, in the interest of preventing the spread of cultural homogeneity.2 The U.S. -
The Gazette of India
REGD. NO. D. L.-33004/99 The Gazette of India EXTRAORDINARY PART II--Section 4 PUBLISHED BY AUTHORITY No. 121] NEW DELHI, THURSDAY, JUNE 6, 2002/JYASITHA 16, 1924 1840 GI/2002 (1) 2 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 3 4 THE GAZETTE OF INDIA: EXTRAORDINARY [PART in—SEC. 41 5 6 THE GAZETTE OF INDIA : EXTRAORDINARY [PART III—SEC. 4] 7 8 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC, 4] 9 1840 GI/2002—2 ]0 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 11 12 THE GAZETTE OF INDIA; EXTRAORDINARY [PART III—SEC. 4] 13 ]4 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 15 ]6 THE GAZETTE OF INDIA. EXTRAORDINARY [PART HI—SHC. 4] 17 1840 GI/2002—3 18 THE GAZETTE OF INDIA • EXTRAORDINARY [PART III—SEC. 41 19 2J THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 21 22 THE GAZETTE OF INDIA: EXTRAORDINARY |PAHTIII—Svc 41 23 24 THE GAZETTE OF INDIA: EJCIHAORDINARY [PARTHI—SBC.4] 25 1840 GI/2002-^ 26 ' THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SKC. 4] 27 28 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 29 30 THE GAZETTE OF INDIA; EXTRAORDINARY [PART in—SEC, 4] 31 32 THE GAZETTE OF INDIA; EXTRAORDINARY [PART III—SEC. 4] 33 1840 GI/2002—5 34 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] 35, 36 THE GAZETTE OF INDIA: EXTRAORDINARY [PART III—SEC. 4] PRASAR BHARATI (BROADCASTING CORPORATION OF INDIA) NOTIFICATION New Delhi, the 5th June, 2002 No. N-10/24/2001-PPC.—In exercise of the powers conferred by clause (b) of Sub-section (2) of Section 33 read with Sub-section (2) of Section 9 of the Prasar Bharati (Broadcasting Corporation of India) Act, 1990 (25 of 1990), the Corporation, with the prior approval of the Central Government, hereby makes the following regulations, namely — 1. -
Answered On:25.08.2000 National Centre of Film for Children and Young People Jaswant Singh Yadav
GOVERNMENT OF INDIA INFORMATION AND BROADCASTING LOK SABHA UNSTARRED QUESTION NO:5081 ANSWERED ON:25.08.2000 NATIONAL CENTRE OF FILM FOR CHILDREN AND YOUNG PEOPLE JASWANT SINGH YADAV Will the Minister of INFORMATION AND BROADCASTING be pleased to state: (a) the number and names of the subordinate offices, autonomous organizations and Public Sector Undertakings attached with his Ministry; (b) whether National Centre of Film for Children and Young People has achieved its objects; ( (c) if so, the details thereof alongwith the number of feature films, serials produced by the Centre during 1999-2000; and (d) the steps being taken by the Government to make the Centre more effective? Answer THE MINISTER OF STATE OF THE MINISTRY OF INFORMATION AND BROADCASTING AND THE MINISTER OF STATE OF THE MINISTRY OF LAW, JUSTICE AND COMPANY AFFAIRS(SHRI ARUN JAITLEY) (a) The number and names of the subordinate offices, autonomous organizations and Public Sector Undertakings attached with the Ministry of Information and Broadcasting are given in the Annexure. (b),(c) & (d): The objective of National Centre of Film for Children and Young People, now called the Children`s Film Society of India(CFSI) is to undertake ando rganize production, distribution and exhibition of feature/short films for children and thereby provide them healthy and wholesome entertainment. In view of the same, CFSI`s activities span the entire gamut of film making and allied fields − from production and acquisition of films to screening, workshops and festivals. Productin of full-length featue films, featurettes, TV serials, short documentaries as also animation and puppet films for children and young people has been the main thrust of its activities. -
Government of India Ministry of Information and Broadcasting
GOVERNMENT OF INDIA MINISTRY OF INFORMATION AND BROADCASTING LOK SABHA STARRED QUESTION NO. *175 (TO BE ANSWERED ON 30.07.2021) NEWS IN SIGN LANGUAGE *175 SHRI ACHYUTANANDA SAMANTA: Will the Minister of INFORMATION AND BROADCASTING be pleased to state: (a) whether the Government has issued accessibility guidelines for private TV channels to broadcast news at least once a day in sign language and if so, the details thereof; (b) whether the Government has specified any monitoring mechanism to ensure the implementation of these guidelines by private TV channels and if so, the details thereof; and (c) the steps taken/proposed to be taken by the Government to ensure that information on important issues/official press conferences particularly on COVID19 developments are accessible to people with hearing and other disabilities through sign language? ANSWER THE MINISTER OF INFORMATION AND BROADCASTING; AND MINISTER OF YOUTH AFFAIRS AND SPORTS (SHRI ANURAG SINGH THAKUR) (a) to (c) : A statement is laid on the Table of the House. STATEMENT REFERRED TO IN REPLY TO PARTS (a) TO (c) OF THE LOK SABHA STARRED QUESTION NO. *175 FOR ANSWER ON 30.07.2021 (a): Yes Sir. The Ministry of Information and Broadcasting has formulated and issued “Accessibility Standards for Television Programmes for Hearing Impaired” on 11.09.2019 to facilitate accessibility to TV programmes and News for persons with hearing impairment. The formulated standards, inter-alia, contain provisions to make the TV content, including news programmes, accessible by use of closed captioning, sign language interpretation and subtitling in a phased manner with graded targets. In respect of the accessible news, the formulated standards prescribe that the private News broadcasters may start with daily sign language news bulletins, effective 16.09.2019, with facilitation from Doordarshan which may provide its sign language news bulletin free of cost to the private news broadcasters till 31.12.2020, during which time private news broadcasters may develop their capacity to produce their sign language news bulletins. -
Prasar Bharati Secretariat in Terms of Section 5(1) and Sector 19(1) of the Right to Information Act, 2005
File No.A-10011/29/2019-PPC PRASAR BHARAT! (INDIA'S PUBLIC SEERVICE BROADCASTER} PRASAR BHARA TI SECRETARIAT PRASAR BHARAT! HOUSE COPERNICUS MARG, NEW DELHI No :- A-10011/29/2019· PPC Dated :07 .09.2020 OFFICE ORDER NO: 2. b6 I 2020-PPC In supersession of all previous orders on the subject and in pursuance of DOPT's O.M. No.1/4/2009-IR dated 05.10.2009 the following officers shall henceforth function as Nodal CPIO, Central Public Information Authorities and First Appellate Authorities of RTI matters related to Prasar Bharati Secretariat in terms of Section 5(1) and Sector 19(1) of the Right to Information Act, 2005. (i) Nodal Central Public Information Officers (CPIO) for Prasar Bharati Secretariat S.No: Name of the Officer ::::ontact Details With Designation 1. Shri Rajeev Malhotra, Dy. Tel:(011)23118417 PB Secretariat, Director(CG & PBB) :opernicus Marg, New Delhi-110001 (ii) Central Public Information Officers(CPIOs) and First Appellate Authorities for Prasar Bharati Secretariat. S.No Name/Designation of Subject matter of Name/Designation for First ::::PIO Drasar Bharati A.ppellate Authority 1. Shri A.K.Srivastava, DDG T & pp Shri Brijesh Singh ADG(IT) DBS, Copernicus Marg, ND-01 2. ::::ol V.K.Shad, DDG(A) :orporate Marketing Sh. Sunil, ADG (Corporating Marketing) 3. Sh. R.S.Sahu, A.E. A.IR (Sales) PB Sh. Sanjay Prasad, 4. Sh.C.P.Varun, PEX DD(Sales)PB DDG(Sales) 5. Shri Devesh Kumar, :entral Archives Sh. Aditya Chaturvedi, Director DDG(Archives) A.kashwani Bhawan 6. Sh. R.K.Vashishtha, GA Section Sh. -
Conservation Management Plan for the National Theatre Haworth Tompkins
Conservation Management Plan For The National Theatre Final Draft December 2008 Haworth Tompkins Conservation Management Plan for the National Theatre Final Draft - December 2008 Haworth Tompkins Ltd 19-20 Great Sutton Street London EC1V 0DR Front Cover: Haworth Tompkins Ltd 2008 Theatre Square entrance, winter - HTL 2008 Foreword When, in December 2007, Time Out magazine celebrated the National Theatre as one of the seven wonders of London, a significant moment in the rising popularity of the building had occurred. Over the decades since its opening in 1976, Denys Lasdun’s building, listed Grade II* in 1994. has come to be seen as a London landmark, and a favourite of theatre-goers. The building has served the NT company well. The innovations of its founders and architect – the ampleness of the foyers, the idea that theatre doesn’t start or finish with the rise and fall of the curtain – have been triumphantly borne out. With its Southbank neighbours to the west of Waterloo Bridge, the NT was an early inhabitant of an area that, thirty years later, has become one of the world’s major cultural quarters. The river walk from the Eye to the Design Museum now teems with life - and, as they pass the National, we do our best to encourage them in. The Travelex £10 seasons and now Sunday opening bear out the theatre’s 1976 slogan, “The New National Theatre is Yours”. Greatly helped by the Arts Council, the NT has looked after the building, with a major refurbishment in the nineties, and a yearly spend of some £2million on fabric, infrastructure and equipment.