DOCSLIB.ORG

Film Facts & Figures

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Facts & Figures FILM FACTS & FIGURES OF THE NETHERLANDS JUNE 2020 ISSUE GHF 2015 2016 2017 2018 2019 THEY CALL ME BABU 27+29+31+34+39TOTAL REVENUES DUTCH MARKET (M) € CONTENT 31+25+27+35+29DUTCH FEATURES PRODUCED NL Key Trends 2015-2019 2 28+22+22+28+40TOTAL DUTCH FILM PRODUCTION ACTIVITY (M) € Review of 2019 4 Chapter 1 Production and Financing 7 37+40+43+48+49FEATURE LENGTH FILMS RELEASED Chapter 2 Releases 19 Chapter 3 International Performance and Festivals 23 Chapter 4 Distribution 31 28+26+27+33+27DUTCH FEATURES RELEASED (MAJ) Chapter 5 Exhibition 37 Chapter 6 DVD/Blu-ray/VOD 43 43+54+49+45+57INT. FILM FESTIVALS W. DUTCH FILM SELECTION Chapter 7 Television/MEDIA 47 Key figures of the Netherlands 2019 64 33+34+36+36+38ADMISSIONS TOTAL (M) 31+21+21+20+23ADMISSIONS DUTCH FILMS (M) 28+29+30+31+35BOX OFFICE TOTAL (M) € NL KEY TRENDS 2015-2019 19+12+12+11+12LOCAL MARKET SHARE DUTCH FILMS (ADM) 2015 2016 2017 2018 2019 Total revenues Dutch market (M) € 532 579 628 688 781 Dutch features produced (min & maj) 62 49 54 57 58 29+24+21+22+24MARKET SHARE EU FILMS (ADM) Total Dutch film production activity (M) € 136.9 105.9 108.3 140.9 201.1 Feature length films released 371 407 432 480 492 Dutch features released (maj & min) 55 51 54 66 55 29+24+21+22+24MARKET SHARE US FILMS (ADM) Int. film festivals w. Dutch film selection 432 540 491 452 569 Admissions total (M) 33 34.2 36.0 35.7 38.0 Admissions Dutch films (M) 6.2 4.2 4.3 3.9 4.5 Box office total (M) € 275.8 287.7 301.9 312.3 347.6 Local market share Dutch films (adm) 18.8% 12.3% 12.0% 11.2% 11.8% 27+28+21+22+24NUMBER OF CINEMAS Market share EU films (adm) 29.0% 23.9% 21.4% 21.5% 24.4% Market share US films (adm) 67.8% 74.4% 75.4% 74.6% 71.1% Number of cinemas 269 277 274 275 277 Number of screens 888 944 956 971 985 22+24+24+24+25NUMBER OF SCREENS FACTS AND FIGURES 3 2015 2016 2017 2018 2019 REVIEW OF 2019 MARKET SHARES IN ADMISSIONS 12.3% 12.0% 11.2% 11.8% THE THE THE THE NETHERLANDS DOMESTIC PRODUCTIONS 18.8% NETHERLANDS NETHERLANDS NETHERLANDS Although the year 2020 will be a challenge due to the effects of THE NETHERLANDS 9.4% 10.3% the COVID-19 pandemic, the Dutch film industry did yield strong Market share for Dutch films relatively 11.6% EUROPE EUROPE 12.6% EUROPE EUROPE performances across all sectors in 2019. 10.2% stable at 11.8% in 2019 EUROPE 3.2% 1.7% 3.9% OTHERS 4.5% OTHERS OTHERS Total theatrical admissions were up 6.4% from 35.7M to 38M 3.2% OTHERS Admissions to Dutch films increased in 2019, but due to an overall OTHERS compared to the previous year. increase in total admissions, the market share for domestic films in the Netherlands remained relatively stable. For the first time Total Dutch film & audio-visual market revenues increased with 13.5% since 2016, the market share for films from the USA decreased. from €688M to €781M. Video on Demand (VOD) numbers leaped Market shares for films from the EU and other countries are 12.6% 21.6% from €324M to €394M. (2018 was the first year when VOD and 4.5%, respectively. The United Kingdom, France and Denmark turnover eclipsed the theatrical Box Office.). reported the largest market shares for national films, similarly to last year. In 2019 even more films were released into Dutch cinemas. At 492 (equating to approximately ten new films per week) this shows how Source: Press release European Audiovisual Observatory (preliminary results). Admissions in percentages of total national market. In the case of Spain and the United Kingdom, competition in cinemas is fiercer than ever before. the national market share is based on GBO. 67.8% 74.4% 75.4% 74.6% 71.1% All figures include minority co-productions except for Sweden. In the case of Denmark, USA USA USA USA USA For the fourth consecutive year Dutch film production levels have risen, minority co-productions are only included in the market shares of 2018 and 2019. reaching €201M in 2019 (including, for the first time, tv series). 39.5% 37.5% 36.0% 35.7% 34.8% Attendance at major Dutch film festivals was just under 1 million, and 29.1% 29.8% 29.8% the number of Dutch films awarded at international festivals came in at 27.4% 23.0% a robust 200. 20.7% 21.6% 21.0% 21.2% 17.6% This serves to underline that the Dutch film industry is a vibrant one, quick to respond to audience needs and requirements, and able both to meet international standards and adapt to the rapidly changing power dynamic. 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 FRANCE ITALY DENMARK 46.1% 47.1% Dutch films keep finding ways to reach national and international 44.7% audiences and the 2019 results are testimony to this. 35.9% 37.4% Bero Beyer 27.5% Netherlands Film Fund 22.7% 23.9% 23.5% 21.3% 20.0% June 2020 17.2% 18.7% 15.1% 13.2% 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 GERMANY SWEDEN UNITED KINGDOM 19.2% 18.5% 18.8% 17.0% 17.6% 15.1% 12.3% 12.0% 11.2% 11.8% 11.3% 10.4% 9.6% 8.4% 8.0% 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 2015 2016 2017 2018 2019 SPAIN THE NETHERLANDS BELGIUM KEY FIGURES/FACTS AND FIGURES 5 TAKE ME SOMEWHERE NICE ME SOMEWHERE TAKE FILM SECTOR: SIZE OF REVENUES, PRODUCTION, DISTRIBUTION AND EXHIBITION 2019 DUTCH FILM* PRODUCTION (SEE PAGE 10-11 AND 15-16) TOTAL €201.1 MILLION * feature films, incentive high end tv series produced, other films released (incl. minority co-productions) €38.4 M TV SERIES €2.0 M ANIMATED SHORT FILM €140.8 M FEATURE FILM €4.2 M €15.7 M CINEMATIC DOCUMENTARY EXPERIMENT & SHORTS FILM REVENUES (SEE PAGE 45) NUMBER OF TITLES RELEASED THEATRICALLY TOTAL €781 MILLION (SEE PAGE 39) TOTAL 492 TITLES VOD €394.0 M 417 OTHER COUNTRIES DVD & BLURAY €39.0 M THEATRICAL €348.0 M 75 THE NETHERLANDS BOX OFFICE DISTRIBUTORS (SEE PAGE 38) BOX OFFICE EXHIBITORS (SEE PAGE 41) TOTAL €347.6 MILLION TOTAL €347.6 MILLION MAJORS CINEMAS/MULTIPLEXES €232.3 M €321.6 M 1. ARTHOUSES/ FILM THEATRES €26.0 M PRODUCTION INDEPENDENTS €115.3 M AND FINANCING 6 FACTS AND FIGURES/KEY FIGURES FILM FUND BUDGET & ACTIVITIES 2019 1.1 Feature Films support Submitted Granted Granted % Expenditure € Expenditure % Production FILM FUND BUDGETS Mainstream/commercial Production support majority (co-)productions Screen NL 6 4 67% 1,430,000 2.6% & ACTIVITIES AND GENDER, 2019 TOTAL TOTAL Supplementary matching fund 8 6 75% 1,821,500 3.4% 1,545 TOTAL 1,512 TOTAL Telescoop 4 1 25% 650,000 1.2% 1,370 1,360 TOTAL 1,267 Total mainstream/commercial 18 11 3,901,500 7.2% The Netherlands Film Fund supported films Arthouse/crossover Production support majority (co-)productions Screen NL 31 24 77% 9,442,827 17.5% and activities for €67.5 million in 2019 Production support New Screen NL 10 4 40% 1,796,983 3.3% 719 666 680 699 709 Dutch Crossover 6 2 33% 2,549,000 4.7% 46.5% 48.6% 45.0% 51.4% 56.0% De Oversteek 4 2 50% 740,000 1.4% The Netherlands Film Fund offers support for the development, Total Arthouse/crossover 51 32 14,528,810 26.9% 2015 2016 2017 2018 2019 production and distribution of features, documentaries, animation €48,110,679 €51,239,794 €54,460,160 €57,649.485 €67,509,542 Production support minority co-productions 58 21 36% 2,440,000 4.5% films, experimental films and shorts. In 2019, 709 out of 1267 BUDGET BUDGET BUDGET BUDGET BUDGET Development Script & project development applications for financial support were approved for funding. 88 Screen NL 183 102 56% 2,542,616 4.7% projects were granted €32.5 million in cash rebates as part of the FUND SUPPORTED 2015-2019 De Oversteek 24 12 50% 174,350 0.3% Number of submitted projects* New Screen NL 14 6 43% 140,182 0.3% Netherlands Film Production Incentive. De Straat 55 6 11% 0 0.0% Number of granted projects Writer's scheme/Vrijplaats schrijvers 39 8 21% 108,000 0.2% Source: Netherlands Film Fund * excluding applications and support Eurimages, Idea checks and other activities. Other support De Straat 19 19 100% 233,000 0.4% Short fiction 89 18 20% 650,529 1.2% More female producers in granted projects Wildcards 29 2 7% 122,000 0.2% Netherlands Film Production Incentive - film 65 58 89% 20,993,105 38.8% 2019 Netherlands Film Production Incentive - tv series 13 13 100% 8,263,145 15.3% Total Feature Film & series 657 308 54,097,237 100% 41.6% of granted projects in 2019 were produced by a woman. In Documentary Submitted Granted Granted % Expenditure € Expenditure % Production 20 19 95% 1,607,962 24.5% 2019 female directors represented 37.1% and of all granted SCRIPT & PRODUCTION DEVELOPMENT 5.3% Post-production 13 8 62% 187,017 2.9% SPECIAL PROJECTS/TRAINING 2.8% projects 42.6% were written by a woman.
Load more

Recommended publications
  • Apocalypse Now the Lost Photo Archive
    Leseprobe Chas Gerretsen Apocalypse Now The Lost Photo Archive Bestellen Sie mit einem Klick für 45,00 € Seiten: 256 Erscheinungstermin: 27. September 2021 Mehr Informationen zum Buch gibt es auf www.penguinrandomhouse.de Inhalte Buch lesen Mehr zum Autor Zum Buch "Chas's stunning photos bring back the experience." —Francis Ford Coppola</w:p><w:p><w:pPr><w:pStyle w:val="ds12f" /></w:pPr>Hired in 1976 by Francis Ford Coppola as the still photographer for his masterpiece Apocalypse Now, Chas Gerretsen’s private archive of hundreds of photographs propels readers immediately into the chaos and drama surrounding one of the most important movies ever made. Gerretsen was a renowned freelance photographer who had previously worked in Chile and Vietnam when he got the call from Coppola, who was looking for a combat photographer for a war movie. Given unprecedented access to the film’s stars, extras, crew, and legendary behind-the-scenes drama he spent six months in the Philippines, shooting thousands of images. Culled from that archive, these full-color photographs offer an intimate glimpse of the turmoil and excitement of a Hollywood spectacle rising out of the unpredictable climate of the Philippine rainforest. Capturing the star power of Marlon Brando, Martin Sheen, and Dennis Hopper, as well as the sprawling sets, he takes us into the beauty of the Southeast Asian jungle and shows us how its inhabitants were incorporated into the filming. Throughout the book, Gerretsen’s astute reflections of his experience on set are as fascinating as his photography. While Apocalypse Now remains one of the most critically acclaimed movies of all time, the making of the film is equally legendary.
    [Show full text]
  • Goldman Sachs New York September 12-13Th 2018 Agenda
    Goldman Sachs New York September 12-13th 2018 Agenda 1 2 3 2018 Group Operational Strategy & highlights highlights Outlook 2018 2 Highlights The pan-European leader in Total Video BROADCAST REVENUE Leading free-to-air In € million 3,046 +2.3% channels and growing TV HY 2018: First time over €3 billion VOD services CONTENT Global entertainment brands Record-high in TV and growing catalogue of high-end drama challenging market environments DIGITAL Proprietary tech with HY 2013 HY 2018 TV leading ad-tech stack & global MPNs EBITDA of €638 million 3 Highlights Our long-term track record LOCAL CONTENT AS KEY SUCCESS FACTOR … Consistent revenue since 2014 growth +3% CAGR High EBITDA margins 20.9% in HY 2018 Ever more diversified Non-TV ad revenue revenue mix 52.3% Organic growth 1 … PROVIDING FIREPOWER TO from content & digital +10.3% Digital: +16.3% EXPAND “TOTAL VIDEO” POSITION revenue YoY revenue YoY Notes: 1.Refers to total digital revenue of MGRTL, M6, and RTL NL. 4 Highlights Strong second quarter drives half-year results Q2 revenue +3.6% Q2 EBITDA +4.7% Half-year revenue +2.3% Half-year EBITDA +1.9% 5 Highlights Continued organic growth through a broad and diversified revenue mix RTL GROUP HY 2018 REVENUE SPLIT PLATFORM AND DIGITAL REVENUE In % In € million Groupe M6: Renewal of distribution agreements Platform1 591 Content 167 #1 MPN 1.7x Revenue +20% YoY3 18.7 213 3.8x 424 100 5.5 113 TV advertising 47.7 € 3.0 bn RTL Group: 13.9 HY 2014 HY 2018 Video views +28% YoY 10.0 4.2 3.7% 5.5% % of total RTL Radio advertising Group revenue 4.2% 13.9% Goal: Other Grow direct-to-consumer 2 Digital Platform Digital revenue significantly Notes: 1.
    [Show full text]
  • 12-04-2021 Week 13 TV Zendertotaal En Week 14 Uitzenddag
    PERSBERICHT ONDERWERP: PERSBERICHT KIJKCIJFERS TV ZENDERTOTAAL (WEEK 13 2021) EN UITZENDDAG (WEEK 14 2021) DATUM: 12-04-2021 VOLGNUMMER: 13 WEEK 13 (29 MAART T/M 4 APRIL) KIJKTIJD EN MARKTAANDELEN Onderstaande kijkcijfers gaan over het kijkgedrag naar televisiezenders tijdens uitzending (live) en uitgesteld kijken tot en met zes dagen na uitzenddag. In week 13 bedroeg de totale tijd die voor het televisiescherm werd doorgebracht (TV Schermtijd) gemiddeld 203 minuten per dag. De gemiddelde kijktijd naar televisiezenders over de gehele dag was 160 minuten. Hiervan werd 132 minuten live en 28 minuten uitgesteld gekeken. GRAFIEK 1: KIJKTIJD NAAR KIJKMOMENT, GEHELE DAG (02-26 UUR), 6 JAAR EN OUDER De publieke omroepen behaalden in week 13 over de gehele dag gezamenlijk een gemiddeld marktaandeel van 36,5%. De zenders van RTL Nederland behaalden in deze week een marktaandeel van 25,3% en de Talpa TV zenders 16,7%. In het avondtijdvak behaalden de publieke omroepen een marktaandeel van 37,9%, de zenders van RTL Nederland 29,4% en de Talpa TV zenders 19,1%. SKO BURGEMEESTER STRAMANWEG 108-S, 1101 AA AMSTERDAM, T 00 31 20 641 43 33, E [email protected], I WWW.KIJKONDERZOEK.NL TABEL 1: KIJKCIJFERS PER ZENDER, GEHELE DAG (02-26 UUR) EN AVOND (18-24 UUR), 6 JAAR EN OUDER ZENDER GEHELE DAG (2-26) AV OND (18-24) KDH MAD L KDH MAD L NPO1 2,8 24,8 7,7 24,8 NPO2 0,7 6,2 2,0 6,6 NPO3 0,6 5,5 2,1 6,6 Publieke Omroep 4,0 36,5 11,8 37,9 R TL4 1,7 14,9 5,5 17,6 R TL5 0,3 2,8 1,1 3,4 R TL7 0,4 3,4 1,2 3,9 R TL8 0,2 1,9 0,7 2,4 R TL C rime 0,0 0,3 0,1 0,2
    [Show full text]
  • Annual Report 2008 Annual Report the Leadingeuropeanentertainment Network
    THE LEADING EUROPEAN ENTERTAINMENT NETWORK FIVE-YEAR SUMMARY 2008 2007 2006 2005 2004 €m €m €m €m €m Revenue 5,774 5,707 5,640 5,115 4,878 RTL Group – of which net advertising sales 3,656 3,615 3,418 3,149 3,016 Corporate Communications Other operating income 37 71 86 103 118 45, boulevard Pierre Frieden Consumption of current programme rights (2,053) (2,048) (1,968) (1,788) (1,607) L-1543 Luxembourg Depreciation, amortisation and impairment (203) (213) (217) (219) (233) T: +352 2486 5201 F: +352 2486 5139 Other operating expense (2,685) (2,689) (2,764) (2,518) (2,495) www.RTLGroup.com Amortisation and impairment of goodwill ANNUAL REPORT and fair value adjustments on acquisitions of subsidiaries and joint ventures (395) (142) (14) (16) (13) Gain/(Loss) from sale of subsidiaries, joint ventures and other investments (9) 76 207 1 (18) Profit from operating activities 466 762 970 678 630 Share of results of associates 34 60 72 63 42 Earnings before interest and taxes (“EBIT”) 500 822 1,042 741 672 Net interest income/(expense) 21 (4) 2 (11) (25) Financial results other than interest 7 26 33 2 (19) Profit before taxes 528 844 1,077 732 628 Income tax income/(expense) (232) (170) 34 (116) (196) Profit for the year 296 674 1,111 616 432 Attributable to: RTL Group shareholders 194 563 890 537 366 Minority interest 102 111 221 79 66 Profit for the year 296 674 1,111 616 432 EBITA 916 898 851 758 709 Amortisation and impairment of goodwill (including disposal group) and fair value adjustments on acquisitions of subsidiaries and joint ventures
    [Show full text]
  • Increasing Contribution of News Photo Agencies Into Journalism by Evolving Technology
    The Online Journal of Communication and Media – April 2015 Volume 1, Issue 2 INCREASING CONTRIBUTION OF NEWS PHOTO AGENCIES INTO JOURNALISM BY EVOLVING TECHNOLOGY Assist.Prof. Dr. Kerim KARAGÖZ1, Prof.Dr. Özer KANBUROĞLU2 1,2Kocaeli University, Turkey [email protected],[email protected] Abstract:The publication of news photos in the journals directly begun in the beginning of 20th Century although news photos had emerged as a profession in the last quarter of 19th century. At the same time, the photos taken immediately distributed among and used in different media organs. In the beginning, the news were distributed by using a specific technique in the emerging agencies, before the photos. The economic reasons were determining factors at establishment of the news agencies in different European countries and in Northern America. Before that, hand-written commercial news letters were disseminated by copying them again by hand-writing. The qualified news coming on time in commercial and capitalist system became important as much as production. Thus, the new circles and groups emerged which were ready to pay for reaching quickly to news. When those increased in numbers, it was realized that the dissemination of news to large areas could be a profitable job. Consequently, the ‘news agencies’ as institutions emerged as a response to a rising need. Today, the news agencies with specific responsibilities in the global communication network just transmit the news and visual material. But some agencies only work on the photos. These agencies transmit photos to all news centers in a short time by connecting with a contracted photographer in that region, or in a region close to the event.
    [Show full text]
  • Kinepolis Group Business Update Q1 2016 Regulatory Release - 11 May 2016
    Kinepolis Group Business Update Q1 2016 Regulatory release - 11 May 2016 First quarter 20161 Compared to the same period last year, Kinepolis registered in the first quarter of 2016 more visitors, higher revenue per visitor in all countries and a positive contribution of the recently acquired cinemas to the turnover and EBITDA development at Group level. The net current profit also rose, both overall and per visitor. This generated the following figures: A rise in visitor numbers of 26.8% to 6.7 million, thanks to the expansion of the Group, a strong film offer and recovering consumer confidence in Spain. A stronger increase in total revenue compared to visitor numbers, due to the higher revenue per visitor. A rise in current2 EBITDA3, both overall and per visitor, thanks to the rise in total re- venue and a further improvement in operating efficiency. An increase in net current profit, in spite of the increased tax burden. A decrease in the net financial debt compared to 31 December 2015, thanks to the favourable operating cash flow and in spite of investments in the further expansion of the Group. Between 1 January and 31 March 2016, Kinepolis welcomed 6.7 million visitors, 26.8% more than in the same period last year. This rise is due to the addition of acquired and new cinemas, after the acquisi- tion of nine Utopolis cinemas4 and the cinema in Bourgoin (France) in 2015, as well as the acquisition of the cinema in Rouen (France) and the opening of Kinepolis Dordrecht (the Netherlands) at the begin- ning of 2016.
    [Show full text]
  • Ziggo Zenderoverzicht Televisie
    Ziggo Zenderoverzicht. Vanaf 12 november 5 TV Gemist Horizon TV thuis Horizon TV overal Replay TV 1 NPO 1 (HD) 5 113 HBO3 (HD) 5 507 CNBC Europe 2 NPO 2 (HD) 5 120 RTL Crime 508 CCTV News 3 NPO 3 (HD) 5 121 Syfy (HD) * 509 RT 4 RTL 4 (HD) 5 122 CI 538 TV538 5 5 RTL 5 (HD) 5 123 ID 601 MTV Music 24 6 SBS6 (HD) 5 124 Comedy Central Extra 5 602 DanceTrippin 5 7 RTL 7 (HD) 5 125 Shorts TV 603 SLAM!TV 8 Veronica / Disney XD (HD) 5 126 E! (HD) * 604 MTV Brand New 9 Net5 (HD) 5 127 NPO Best 605 Stingray LiteTV 10 RTL 8 (HD) 5 128 NPO 101 606 VH1 Classic 11 FOX (HD) 5 129 OUTtv 607 Brava NL Klassiek 5 12 RTL Z (HD) 130 NPO Humor TV 608 Mezzo 13 Ziggo TV 131 AMC 5 609 DJAZZ.tv 5 14 Ziggo Sport (HD) 5 132 CBS Reality 610 TV Oranje 15 Comedy Central (HD) 5 133 Fashion TV HD 611 100% NL TV 5 16 Nickelodeon (HD) 5 134 MyZen HD 612 192TV 17 Discovery (HD) 5 136 Horse & Country TV 613 MTV Live HD 18 National Geopgraphic Channel (HD) 5 140 RTL Lounge 701 TV Noord 19 SBS9 (HD) 5 202 Discovery Science 702 Omrop Fryslân 20 Eurosport (HD) 203 Discovery World 703 TV Drenthe 21 TLC (HD) 5 204 Nat Geo Wild (HD) 704 TV Oost 5 22 13TH Street (HD) * 208 Animal Planet HD 705 TV Gelderland 23 MTV (HD) 5 210 Travel Channel (HD) 706 Omroep Flevoland 24 24Kitchen (HD) 211 ONS 707 TV NH 25 XITE 5 212 NPO Doc 708 Regio TV Utrecht 26 FOXlife (HD) 5 222 NPO Cultura 709 TV West 27 Disney Channel 5 230 Family7 710 TV Rijnmond 28 HISTORY (HD) 5 301 Disney XD 5 711 Omroep Zeeland 29 Comedy Central Family 5 302 Disney Junior 5 712 Omroep Brabant 5 30-33 Regionaal publieke 303 Nicktoons 713 L1 TV omroep van de regio 304 Nick Hits 725 AT5 34-35 Regionaal commerciële omroep 305 Pebble TV 36-50 Lokale omroep 306 Nick Jr.
    [Show full text]
  • Liste Des Programmes Luxembourgeois
    Services de télévision sur antenne soumis au contrôle de l’ALIA Dernière mise à jour : mars 2021 Services radiodiffusés à rayonnement international Nom du service Fournisseur de service RTL TVi RTL Belux s.a. & cie s.e.c.s. Club RTL 43, boulevard Pierre Frieden L-1543 Luxembourg Plug RTL RTL 4 Teleshop 4 RTL 5 Teleshop 5 RTL 7 Teleshop 7 RTL 8 Teleshop 8 RTL Telekids CLT-Ufa s.a. RTL Lounge 43, boulevard Pierre Frieden L-1543 Luxembourg RTL Crime RTL Z Film+ RTL II RTL+ RTL Gold Sorozat Musika TV Cool Page 1 sur 19 Service radiodiffusé visant le public résidant Nom du service Fournisseur de service RTL Télé Lëtzebuerg CLT-Ufa s.a. 43, boulevard Pierre Frieden 2ten RTL Télé Lëtzebuerg L-1543 Luxembourg Services luxembourgeois par satellite Nom du service Fournisseur de service Nordliicht a.s.b.l. Nordliicht 22, route de Diekirch L-9381 Moestroff Uelzechtkanal a.s.b.l. c/o Lycée de garçons Esch Uelzechtkanal 71, rue du Fossé L-4123 Esch/Alzette Dok TV s.a. .dok den oppene kanal 36, rue de Kopstal L-8284 Kehlen Luxembourg Movie Production a.s.b.l. Kanal 3 5, rue des Jardins L-7325 Heisdorf Osmose Media s.a. Euro D 177, rue de Luxembourg L-8077 Bertrange Luxe.TV (HD) (version anglaise) Luxe.TV (HD) (version française) Opuntia s.a. Luxe.TV Luxembourg (UHD 4K) 45, rue Siggy vu Lëtzebuerg (version anglaise) L-1933 Luxembourg Luxe TV Luxembourg (UHD 4K) (version française) Goto Luxe.TV (SD) (version anglaise) N 1 (version croate) N 1 (version bosnienne) Adria News s.à r.l.
    [Show full text]
  • How RTL Nederland, SBS and NPO Are Launching a Joint Video-On-Demand Subscription Service
    week 47 / 21 November 2013 A UNIQUE COLLABORATION How RTL Nederland, SBS and NPO are launching a joint video-on-demand subscription service Luxembourg United Kingdom Luxembourg Belgium RTL Group Three more In the spotlight Television industry companies help years of Britain’s of financial market celebrates World typhoon victims Got Talent and Television Day The X Factor week 47 / 21 November 2013 A UNIQUE COLLABORATION How RTL Nederland, SBS and NPO are launching a joint video-on-demand subscription service Luxembourg Australia / Germany France Canada RTL Group reports FremantleMedia Groupe M6 sets Broadband TV significant profit locks in first up Multi-Channel announces growth adaptation deal Network a production for Wentworth programme Cover In the spotlight Montage with main programmes of the financial featured by NLziet from Dutch broadcasters market RTL Group p. 10–11 Publisher RTL Group 45, Bd Pierre Frieden L-1543 Luxembourg Television industry unites to celebrate World Television Day ACT p. 12–13 Editor, Design, Production RTL Group Corporate Communications & Marketing k before y hin ou T p r in t backstage.rtlgroup.com backstage.rtlgroup.fr backstage.rtlgroup.de QUICK VIEW RTL Group companies help typhoon victims RTL Group p. 7–8 Three more years of Britain’s Got Talent and The X Factor FremantleMedia UK p. 9 The best of Dutch TV in one stop: NLziet RTL Nederland In the spotlight p.4–6 of the financial market RTL Group p. 10–11 Television industry unites to celebrate World Television Day ACT p. 12–13 SHORT NEWS p. 14–15 In early 2014, RTL Nederland, NPO and SBS will launch NLziet, a THE BEST OF new video-on-demand subscription service for Dutch viewers.
    [Show full text]
  • Must-Carry Rules, and Access to Free-DTT
    Access to TV platforms: must-carry rules, and access to free-DTT European Audiovisual Observatory for the European Commission - DG COMM Deirdre Kevin and Agnes Schneeberger European Audiovisual Observatory December 2015 1 | Page Table of Contents Introduction and context of study 7 Executive Summary 9 1 Must-carry 14 1.1 Universal Services Directive 14 1.2 Platforms referred to in must-carry rules 16 1.3 Must-carry channels and services 19 1.4 Other content access rules 28 1.5 Issues of cost in relation to must-carry 30 2 Digital Terrestrial Television 34 2.1 DTT licensing and obstacles to access 34 2.2 Public service broadcasters MUXs 37 2.3 Must-carry rules and digital terrestrial television 37 2.4 DTT across Europe 38 2.5 Channels on Free DTT services 45 Recent legal developments 50 Country Reports 52 3 AL - ALBANIA 53 3.1 Must-carry rules 53 3.2 Other access rules 54 3.3 DTT networks and platform operators 54 3.4 Summary and conclusion 54 4 AT – AUSTRIA 55 4.1 Must-carry rules 55 4.2 Other access rules 58 4.3 Access to free DTT 59 4.4 Conclusion and summary 60 5 BA – BOSNIA AND HERZEGOVINA 61 5.1 Must-carry rules 61 5.2 Other access rules 62 5.3 DTT development 62 5.4 Summary and conclusion 62 6 BE – BELGIUM 63 6.1 Must-carry rules 63 6.2 Other access rules 70 6.3 Access to free DTT 72 6.4 Conclusion and summary 73 7 BG – BULGARIA 75 2 | Page 7.1 Must-carry rules 75 7.2 Must offer 75 7.3 Access to free DTT 76 7.4 Summary and conclusion 76 8 CH – SWITZERLAND 77 8.1 Must-carry rules 77 8.2 Other access rules 79 8.3 Access to free DTT
    [Show full text]
  • 9 - 15 Januari 2020
    9 - 15 januari 2020 REPRISES APOCALYPSE NOW: FINAL CUT Regie: Francis Ford Coppola | VS | 1979 | 183 min. Digitale restauratie van het fameuze epos over de waanzin van de Vietnamoorlog met legendarische rollen van Martin Sheen, Robert Duvall als napalm kolonel, Dennis Hopper als geflipte oorlogsfotograaf. En natuurlijk Marlon Brando met zijn onvergetelijke mompeldialoog als een losgeslagen Kurtz. De absolute succesfilm van Filmhuis O42! ‘Dit is geen film over Vietnam. Deze film is Vietnam‘ aldus F.F.Coppola. (‘Hoe meer Apocalypse Now, hoe beter.’ ★★★★★ VPRO Cinema) KNIVES OUT Regie: Rian Johnson | VS | 2019 | 130 min. Een wervelende klassieke whodunit in een nieuw jasje, waarbij EEN FILM VAN LJUBO STEFANOV EN TAMARA KOTEVSKA iedereen een verdachte kan zijn. Daniel Craig schittert als detective in de beste traditie van Hercule Poirot. In de voetsporen van Agatha Christie, deze hit van de kerstvakantie! (‘Schmierende cast maakt van detective Knives Out een traktatie.’ ★★★★ de Volkskrant) A LAND IMAGINED Regie: Yeo Siew Hua | Singapore, Nederland | 2018 | 95 min. Oververmoeide rechercheur onderzoekt in Singapore de verdwijning van een Chinese bouwvakker en stuit zo op de duistere keerzijde van de hedendaagse bouwwoede in de metropool. Winnaar Gouden Luipaard filmfestival Locarno. (‘Een droomachtige trip naar het zwarte hart van het globale markt-kapitalisme.’ de Filmkrant) HONEYLAND PREMIÈRE Regie: Tamara Kotevska | Noord-Macedonië MARRIAGE STORY 2019 | 87 min. Regie: Noah Baumbach | VS | 2019| 136 min. Drie jaar lang volgden de makers de laatste Meesterlijk echtscheidingsdrama vol hartverscheurende momenten vrouwelijke honingjager. Hafidze speurt de tussen Adam Driver en Scarlett Johansson. Maar tegelijk ook een steile bergflanken af op zoek naar bijenkolo- instant klassieker, veertig jaar na Kramer versus Kramer, met veel nies.
    [Show full text]
  • Week 48 2020) En Uitzenddag (Week 49 2020)
    PERSBERICHT ONDERWERP: PERSBERICHT KIJKCIJFERS TV ZENDERTOTAAL (WEEK 48 2020) EN UITZENDDAG (WEEK 49 2020) DATUM: 07-12-2020 VOLGNUMMER: 48 WEEK 48 (23 T/M 29 NOVEMBER) KIJKTIJD EN MARKTAANDELEN Onderstaande kijkcijfers gaan over het kijkgedrag naar televisiezenders tijdens uitzending (live) en uitgesteld kijken tot en met zes dagen na uitzenddag. In week 48 bedroeg de totale tijd die voor het televisiescherm werd doorgebracht (TV Schermtijd) gemiddeld 226 minuten per dag. De gemiddelde kijktijd naar televisiezenders over de gehele dag was 177 minuten. Hiervan werd 149 minuten live en 29 minuten uitgesteld gekeken. GRAFIEK 1: KIJKTIJD NAAR KIJKMOMENT, GEHELE DAG (02-26 UUR), 6 JAAR EN OUDER De publieke omroepen behaalden in week 48 over de gehele dag gezamenlijk een gemiddeld marktaandeel van 33,2%. De zenders van RTL Nederland behaalden in deze week een marktaandeel van 26,1% en de Talpa TV zenders 16,1%. In het avondtijdvak behaalden de publieke omroepen een marktaandeel van 34,3%, de zenders van RTL Nederland 31,3% en de Talpa TV zenders 19,5%. SKO BURGEMEESTER STRAMANWEG 108-S, 1101 AA AMSTERDAM, T 00 31 20 641 43 33, E [email protected], I WWW.KIJKONDERZOEK.NL TABEL 1: KIJKCIJFERS PER ZENDER, GEHELE DAG (02-26 UUR) EN AVOND (18-24 UUR), 6 JAAR EN OUDER ZENDER GEHELE DAG (2-26) AV OND (18-24) KDH MAD L KDH MAD L NPO1 2,7 22,3 7,3 22,3 NPO2 0,7 5,6 2,0 6,0 NPO3 0,7 5,3 2,0 6,0 Publieke Omroep 4,1 33,2 11,3 34,3 R TL4 2,0 16,1 6,4 19,4 R TL5 0,3 2,6 1,1 3,4 R TL7 0,4 3,6 1,4 4,3 R TL8 0,3 2,2 0,9 2,8 R TL C rime 0,0 0,4 0,1 0,3
    [Show full text]