A Guide for General Counsels Insights Into Ethnicity Pay Gap Reporting 1 Contents
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Film Club Sky 328 Newsletter Freesat 306 FEB/MAR 2021 Virgin 445
Freeview 81 Film Club Sky 328 newsletter Freesat 306 FEB/MAR 2021 Virgin 445 You can always call us V 0808 178 8212 Or 01923 290555 Dear Supporters of Film and TV History, It’s been really heart-warming to read all your lovely letters and emails of support about what Talking Pictures TV has meant to you during lockdown, it means so very much to us here in the projectionist’s box, thank you. So nice to feel we have helped so many of you in some small way. Spring is on the horizon, thank goodness, and hopefully better times ahead for us all! This month we are delighted to release the charming filmThe Angel Who Pawned Her Harp, the perfect tonic, starring Felix Aylmer & Diane Cilento, beautifully restored, with optional subtitles plus London locations in and around Islington such as Upper Street, Liverpool Road and the Regent’s Canal. We also have music from The Shadows, dearly missed Peter Vaughan’s brilliant book; the John Betjeman Collection for lovers of English architecture, a special DVD sale from our friends at Strawberry, British Pathé’s 1950 A Year to Remember, a special price on our box set of Together and the crossword is back! Also a brilliant book and CD set for fans of Skiffle and – (drum roll) – The Talking Pictures TV Limited Edition Baseball Cap is finally here – hand made in England! And much, much more. Talking Pictures TV continues to bring you brilliant premieres including our new Saturday Morning Pictures, 9am to 12 midday every Saturday. Other films to look forward to this month include Theirs is the Glory, 21 Days with Vivien Leigh & Laurence Olivier, Anthony Asquith’s Fanny By Gaslight, The Spanish Gardener with Dirk Bogarde, Nijinsky with Alan Bates, Woman Hater with Stewart Granger and Edwige Feuillère,Traveller’s Joy with Googie Withers, The Colour of Money with Paul Newman and Tom Cruise and Dangerous Davies, The Last Detective with Bernard Cribbins. -
Why Us: a Clear Choice
Why us: A clear choice Well balanced Sector-focused approach Lawyers by practice group globally Aerospace & Defense Life Sciences & Health Care Automotive Other Transportation Corporate & Finance 26% Consumer Private Capital Litigation, Arbitration and Employment 46% Global Regulatory & IPMT Diversified Industrials Real Estate Education Sports, Media & Entertainment 28% Energy & Natural Resources Technology Financial Institutions & Telecoms Well-balanced across jurisdictions Insurance (FIIS) 7% Relied on by the world Americas Europe, Middle East, and Africa In the last three years, our LAE team has advised 73 of the 43% 50% Asia-Pacific Fortune 100, 40 of the FTSE 100 and, 24 of the DAX 30 More than 650 M&A deals globally over the past three years with a total value of US$490bn 16 out of 20 of the world’s top 20 banks regularly instruct us Our IP, Media & Technology team represents more than half of the Top numbers world’s top 100 brands offices globally Global Regulatory team of more than 600 lawyers help clients create 47+ smart solutions that power their businesses to advance 24+ countries Nearly 70% of billings are from clients who work with us in 3+ countries 2600+ lawyers Strong performance 70+ languages lawyers ranked by US$2.25bn 11th largest 7th largest 485+ Chambers & Partners in total revenue law firm in the world law firm in the U.S. by global revenue by global revenue years of history (Financial Year 2019) 100+ (Legal Business Global 100 2019) (AmLaw 200 2019) Why us: A clear choice Clear vision Innovative A bold and distinctive law firm creating Top three most innovative law firm in North valuable solutions for our clients around America, Europe, and Asia (Financial Times the world, particularly at the intersection of Innovative Lawyers Surveys, 2019) business and government. -
Welcome to Our Citizenship Report Search
Welcome to our Citizenship Report To turn the pages, click or drag the corner of the page with your mouse pointer. Alternatively, click the arrow shown at the vertical outer edge of the pages. To zoom in on the detail of each page, click when your cursor appears as a magnifying glass icon. Search Search by keyword, story title or author name. Citizenship Report 2010 Challenge. Inspire. Change. We embrace our responsibility to give back to our communities through pro bono and community service work. We are committed to a diverse workforce that is inclusive and welcoming. 02_ 03 Citizenship Report | Contents Contents Introduction 05 Our Pro Bono practice 07 Global diversity 17 and inclusion Commitment to the 25 environment Touch: Matched 31 global giving Community investment 35 Hogan Lovells’ awards 39 Citizenship panel 43 Many of the photos in this report were taken as part of an internal Hogan Lovells photography competition. Entries were submitted from all regions in which we operate and the money raised from the entry fees went to our Touch charities. To find out more about the images included in this report, please visit http://www.hoganlovells.com/custom/citizenship/index.html. See page 31 for more details about Touch. Good citizenship is one of Hogan Lovells’ core values. It is an essential value that underpins our business practices. 1 May Hogan & Hartson and Lovells came together in 2010 to create Hogan Lovells, a global legal practice. 04_ 05 Citizenship Report | Introduction Introduction Welcome to our first annual Citizenship Report. At Hogan Lovells, we will always look back on 2010 as a landmark year. -
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (Eds.)
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) RIPE @ 2007 NORDICOM From Public Service Broadcasting to Public Service Media From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) NORDICOM From Public Service Broadcasting to Public Service Media RIPE@2007 Gregory Ferrell Lowe & Jo Bardoel (eds.) © Editorial matters and selections, the editors; articles, individual con- tributors; Nordicom ISBN 978-91-89471-53-5 Published by: Nordicom Göteborg University Box 713 SE 405 30 GÖTEBORG Sweden Cover by: Roger Palmqvist Cover photo by: Arja Lento Printed by: Livréna AB, Kungälv, Sweden, 2007 Environmental certification according to ISO 14001 Contents Preface 7 Jo Bardoel and Gregory Ferrell Lowe From Public Service Broadcasting to Public Service Media. The Core Challenge 9 PSM platforms: POLICY & strategY Karol Jakubowicz Public Service Broadcasting in the 21st Century. What Chance for a New Beginning? 29 Hallvard Moe Commercial Services, Enclosure and Legitimacy. Comparing Contexts and Strategies for PSM Funding and Development 51 Andra Leurdijk Public Service Media Dilemmas and Regulation in a Converging Media Landscape 71 Steven Barnett Can the Public Service Broadcaster Survive? Renewal and Compromise in the New BBC Charter 87 Richard van der Wurff Focus on Audiences. Public Service Media in the Market Place 105 Teemu Palokangas The Public Service Entertainment Mission. From Historic Periphery to Contemporary Core 119 PSM PROGRAMMES: strategY & tacticS Yngvar Kjus Ideals and Complications in Audience Participation for PSM. Open Up or Hold Back? 135 Brian McNair Current Affairs in British Public Service Broadcasting. Challenges and Opportunities 151 Irene Costera Meijer ‘Checking, Snacking and Bodysnatching’. -
Media: Industry Overview
MEDIA: INDUSTRY OVERVIEW 7 This document is published by Practical Law and can be found at: uk.practicallaw.com/w-022-5168 Get more information on Practical Law and request a free trial at: www.practicallaw.com This note provides an overview of the sub-sectors within the UK media industry. RESOURCE INFORMATION by Lisbeth Savill, Clare Hardwick, Rachael Astin and Emma Pianta, Latham & Watkins, LLP RESOURCE ID w-022-5168 CONTENTS RESOURCE TYPE • Scope of this note • Publishing and the press Sector note • Film • Podcasts and digital audiobooks CREATED ON – Production • Advertising 13 November 2019 – Financing and distribution • Recorded music JURISDICTION • Television • Video games United Kingdom – Production • Radio – Linear and catch-up television • Social media – Video on-demand and video-sharing services • Media sector litigation SCOPE OF THIS NOTE This note provides an overview of the sub-sectors within the UK media industry. Although the note is broken down by sub-sector, in practice, many of these areas overlap in the converged media landscape. For more detailed notes on media industry sub-sectors, see: • Sector note, Recorded music industry overview. • Sector note, TV and fi lm industry overview. • Practice note, Video games industry overview. FILM Production Total UK spend on feature fi lms in 2017 was £2 billion (up 17% on 2016) (see British Film Institute (BFI): Statistical Yearbook 2018). Film production activity in the UK is driven by various factors, including infrastructure, facilities, availability of skills and creative talent and the incentive of fi lm tax relief (for further information, see Practice note, Film tax relief). UK-produced fi lms can broadly be sub-divided into independent fi lms, UK studio-backed fi lms and non-UK fi lms made in the UK. -
Diversity and Inclusion in the European Audiovisual Sector European Audiovisual Observatory, Strasbourg, 2021 ISSN 2079-1062 ISBN 978-92-871-9054-3 (Print Version)
Diversity and inclusion in the European audiovisual sector IRIS Plus IRIS Plus 2021-1 Diversity and inclusion in the European audiovisual sector European Audiovisual Observatory, Strasbourg, 2021 ISSN 2079-1062 ISBN 978-92-871-9054-3 (Print version) Director of publication – Susanne Nikoltchev, Executive Director Editorial supervision – Maja Cappello, Head of Department for Legal Information Editorial team – Francisco Javier Cabrera Blázquez, Julio Talavera Milla, Sophie Valais Research assistant - Léa Chochon European Audiovisual Observatory Authors (in alphabetical order) Francisco Javier Cabrera Blázquez, Maja Cappello, Julio Talavera Milla, Sophie Valais Translation Marco Polo Sarl, Sonja Schmidt Proofreading Jackie McLelland, Johanna Fell, Catherine Koleda Editorial assistant – Sabine Bouajaja Press and Public Relations – Alison Hindhaugh, [email protected] European Audiovisual Observatory Publisher European Audiovisual Observatory 76, allée de la Robertsau, 67000 Strasbourg, France Tel.: +33 (0)3 90 21 60 00 Fax: +33 (0)3 90 21 60 19 [email protected] www.obs.coe.int Cover layout – ALTRAN, France Please quote this publication as Cabrera Blázquez F.J., Cappello M., Talavera Milla J., Valais S., Diversity and inclusion in the European audiovisual sector, IRIS Plus, European Audiovisual Observatory, Strasbourg, April 2021 © European Audiovisual Observatory (Council of Europe), Strasbourg, 2021 Opinions expressed in this publication are personal and do not necessarily represent the views of the Observatory, its members or the Council of Europe. Diversity and inclusion in the European audiovisual sector Francisco Javier Cabrera Blázquez, Maja Cappello, Julio Talavera Milla, Sophie Valais Foreword Let me tell you a few stories about extraordinary people. Artemisia Gentileschi was a seventeenth century painter, and quite a talented one at that. -
Trustlaw Index of Pro Bono 2016
TRUSTLAW INDEX OF PRO BONO 2016 SPREADING THE PRACTICE OF PRO BONO WORLDWIDE TO DRIVE SOCIAL CHANGE TrustLaw Index of Pro Bono - Regional Analysis Europe The analysis in this section relates to Europe excluding England and Wales. The 2016 Index data shows that pro bono engagement is strong across Europe among both partners and fee earners. Thirty nine law firms with offices in 27 countries across Europe submitted data on their pro bono practices for the 2016 Index, a significant increase from the 31 firms that submitted in 2015. Data for nearly all key indicators suggested growth in individual lawyers’ commitment to pro bono, expansion of the practice across previously unreached jurisdictions and an increasing number of law firms using pro bono as a tool to engage and retain lawyers. While there was a 30 percent increase in the total number of pro bono hours carried out by firms with offices in Europe last year, the average annual pro bono hours carried out by fee earners dropped nominally from 15.9 hours to 15.2 hours. However, findings in both of these years show an appreciable increase from the first year of the Index, when fee earners in European offices did an average of 12.3 hours of pro bono each. Such comparisons suggest a net increase in pro bono contributions since the Index began. In addition, the percentage of fee earners who reported doing 10 or more hours of pro bono work increased in the last year, from 25.1 percent to 26.0 percent. Partner engagement in Europe increased over the last year with partners’ average annual pro bono hours increasing slightly from 10.0 to 10.8 hours and 42.5 percent of partners in European firms contributing some time to pro bono initiatives (representing a 30 percent increase from the 2015 Index). -
Summary of Hearing with the British Film Institute Held on 12 June 2013
CINEWORLD/CITY SCREEN MERGER INQUIRY Summary of hearing with the British Film Institute held on 12 June 2013 Background 1. The British Film Institute (BFI) was the appointed lead agency for film in the UK, which gave it a strategic remit for film production. Its functions included the Lottery Film Fund, which distributed lottery money for film development, film production and the distribution of specialized film in the UK; an archive team, which looked after and restored works; an education team; and a publishing function for magazine and DVD publication. 2. The BFI had an exhibition department, which was based at the BFI Southbank and also housed the London Film Festival and the Lesbian and Gay Film Festival. BFI Southbank was a commercially-operated cinema in London and the site also housed the Mediatheque, a publicly available archive of television and media material and the Reuben library of books and manuscripts related to film and television. It owned the IMAX cinema on the Southbank, the running of which was contracted to the Odeon. 3. The BFI had a distribution arm, distributing works restored by the BFI as well as third- party films. These tended to be specialized, rather than commercial films. The BFI was not a competitive acquirer of rights to new works. 4. As a charity, the BFI also had a fundraising team. BFI grants 5. The BFI would shortly be launching a fund called The Audience Network to allow community venues to show a broad range of films to their local audience. Through the fund, it would make available small grants for equipment to venues that were not cinemas, for example village halls, town halls and local schools that ran film societies or film clubs. -
Film Club Sky 328 Newsletter Freesat 306 AUGUST/SEPT 2020 Virgin 445
Freeview 81 Film Club Sky 328 newsletter Freesat 306 AUGUST/SEPT 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping you are all well and enjoying a Lyons Maid or two on the hotter days while watching Talking Pictures TV – your own personal trip to the flicks every day and no fleas! This month we bring you a wonderful new DVD Box set from Renown Pictures – The Comedy Collection Volume 3! We thought it was time we all had a jolly good laugh and with 11 films over 3 discs, starring some of the greatest British character actors you will see, it’s an absolute bargain at £20 for all 3 discs with free UK postage. Titles include: A Hole Lot of Trouble with Arthur Lowe, Victor Maddern and Bill Maynard; A Touch of The Sun with Frankie Howerd, Ruby Murray and Alfie Bass, once lost British comedy Just William’s Luck, fully restored to its former glory, Come Back Peter, with Patrick Holt and Charles Lamb, also once lost and never before released on DVD, as well as Where There’s A Will with George Cole and Kathleen Harrison, plus many more! More details overleaf. There’s an extra special deal on our Comedy Collection Volumes 1 and 2 as well. Regarding our events this year and next year, there is good news and bad news. Finally, the manager at the St Albans Arena has come back to the office and has secured 28th March 2021 for us. Sad news as it doesn’t look like we will be able to go ahead with any other event this year, including Stockport on Sunday 4th October. -
British Film Institute Response to Department for Digital, Culture, Media and Sport Audiovisual Media Services Directive Consul
British Film Institute Response to Department for Digital, Culture, Media and Sport Audiovisual Media Services Directive Consultation Document August 2019 About the BFI The BFI is the UK’s lead organisation for film, television and the moving image which: • Curates and presents a public programme of World Cinema for audiences - in cinemas, at festivals and online. • Cares for the BFI National Archive - the most significant film and television archive in the world. • Actively seeks out and supports the next generation of filmmakers. • Works with Government and industry to make the UK the most creatively exciting and prosperous place to make film internationally. Executive summary The BFI welcomes the opportunity to respond to this consultation, in particular, we wish to stress the following points: • The BFI endorses important revisions to AVMS, which will help to ensure that regulation is appropriate to the needs of industry and audience at a time of very significant change in the sector. In particular, the objective of creating a level playing field between video sharing services, on-demand services and linear AV services is very welcome and entirely justified, especially given rapidly changing consumer behaviour, new service providers and business models. Global AV Market Revenue (% Share of GDP) Online Video Cinema Theatrical Subscription OTT Physical Video Pay TV Transactional Video TV Advertising Public TV Advertising 2013 0.050 0.020 0.010 0.040 0.310 0.010 0.280 0.080 2018 0.050 0.040 0.050 0.020 0.270 0.013 0.240 0.070 % Change 0 100 400 -50 -13 30 -14 -13 Source: Ampere Markets, Advertising Data from Group M. -
A Teaching Guide to Using Film and Television with Three- to Eleven-Year Olds Education
LOOKLOOK AGAIN!AGAIN! A teaching guide to using film and television with three- to eleven-year olds Education This publication has been made possible by the generosity of the Department for Education and Skills (DfES). LOOK AGAIN! A teaching guide to using film and television with three- to eleven-year-olds Education ma vie en rose | courtesy of bfi stills LOOK AGAIN ii CREDITS AND ACKNOWLEDGEMENTS This publication has been made possible by the British Library Cataloguing-in-Publication Data British Film Institute Primary Education Working bfi staff involved generosity of the Department for Education and A catalogue record for this book is available from Group 2002-2003 Cary Bazalgette, Head of Education Development Skills (DfES). the British Library. Wendy Earle, Resources Editor Ann Aston, Deputy Head Teacher, Robin Hood Hilary Pearce, 5–14 Development Officer Written and produced by the Primary Education ISBN: 1–903786–11–8 Primary School, Birmingham Dr David Parker, Research Officer Working Group convened by bfi Education. The copyright for this teaching guide belongs to Helen Bromley, independent Early Years the British Film Institute. consultant The Working Group would like to thank the Designed by: Alex Cameron and Kelly Al-Saleh Margaret Foley, Quality Improvement Officer numerous teachers, advisers and literacy If you would like to reproduce anything in this 0–14, Dundee City Council consultants in all parts of the UK who contributed Film stills: guide for any other purpose, please contact the Mary Hilton, Lecturer in Primary English, Faculty to the development process and the experiences courtesy of bfi Stills, Ann Aston, Christopher Resources Editor, bfi Education, 21 Stephen of Education, University of Cambridge cited in this Guide, and in particular Geoff Dean, Duriez, Juliet McCoen, Alison Hempstock, Street, London W1T 1LN. -
Cairncross Review a Sustainable Future for Journalism
THE CAIRNCROSS REVIEW A SUSTAINABLE FUTURE FOR JOURNALISM 12 TH FEBRUARY 2019 Contents Executive Summary 5 Chapter 1 – Why should we care about the future of journalism? 14 Introduction 14 1.1 What kinds of journalism matter most? 16 1.2 The wider landscape of news provision 17 1.3 Investigative journalism 18 1.4 Reporting on democracy 21 Chapter 2 – The changing market for news 24 Introduction 24 2.1 Readers have moved online, and print has declined 25 2.2 Online news distribution has changed the ways people consume news 27 2.3 What could be done? 34 Chapter 3 – News publishers’ response to the shift online and falling revenues 39 Introduction 39 3.1 The pursuit of digital advertising revenue 40 Case Study: A Contemporary Newsroom 43 3.2 Direct payment by consumers 48 3.3 What could be done 53 Chapter 4 – The role of the online platforms in the markets for news and advertising 57 Introduction 57 4.1 The online advertising market 58 4.2 The distribution of news publishers’ content online 65 4.3 What could be done? 72 Cairncross Review | 2 Chapter 5 – A future for public interest news 76 5.1 The digital transition has undermined the provision of public-interest journalism 77 5.2 What are publishers already doing to sustain the provision of public-interest news? 78 5.3 The challenges to public-interest journalism are most acute at the local level 79 5.4 What could be done? 82 Conclusion 88 Chapter 6 – What should be done? 90 Endnotes 103 Appendix A: Terms of Reference 114 Appendix B: Advisory Panel 116 Appendix C: Review Methodology 120 Appendix D: List of organisations met during the Review 121 Appendix E: Review Glossary 123 Appendix F: Summary of the Call for Evidence 128 Introduction 128 Appendix G: Acknowledgements 157 Cairncross Review | 3 Executive Summary Executive Summary “The full importance of an epoch-making idea is But the evidence also showed the difficulties with often not perceived in the generation in which it recommending general measures to support is made..