Analysis of Chinese Video Website Barrage Language Based on the Influence of the ACGN Culture
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Joint Action Against Online Video Piracy in China
November 13, 2013 Joint Action Against Online Video Piracy in China Lawsuits Seeking RMB300 Million in Damages Filed Against Baidu and QVOD on Claims of Spreading Pirated Videos and Engaging in Hotlinking BEIJING, Nov. 13, 2013 /PRNewswire/ -- Youku Tudou, Sohu Video, Tencent Video, LeTV, MPA, the Motion Picture Association of America (MPAA), CODA, Wanda Films, Enlight Media, Letv Films announce a joint declaration today in Beijing to fight online video infringement and piracy both on PC and mobile Internet in China. Meanwhile, the joint action announces legal action has been taken against Baidu and QVOD for compensation as high as RMB300 million. Representatives from more than a dozen Chinese and international film and television production companies attended the joint action announcement in Beijing. International attendees included the Motion Picture Association of America, Sony Pictures Entertainment, Warner Brothers, Disney and Paramount. Chinese attendees included the Capital Copyright Industry Alliance Capital Protection Division, the China Radio and Television Association of the Television Production Committee, and many Chinese production companies. "Since 2009, the video industry is facing a more severe anti-piracy situation," Sohu Group Chairman and CEO Charles Zhang said. "Especially when those big Internet companies with resource advantages participate in large-scale piracy. We cannot keep competing because where thieves and robbers are having their way, law-abiding companies cannot survive. We may even have to exit online video industry if such practices continue. Nobody will invest in content, and China's online video industry will face the sad situation as the music industry, which has already been destroyed by piracy, had faced before. -
Downloaded Mp4 Video Playback Time Restrictions Videohunter
downloaded mp4 video playback time restrictions VideoHunter. VideoHunter is an all-featured HD video downloader, providing user-friendly features and speedy performance to download online videos/audios from over 1,000 sites to MP3, MP4 formats, including YouTube, Facebook, Twitter, Instagram, SoundCloud, Vlive, Pornhub, Niconico, Bilibili, TED, CNN, and so forth. VideoHunter's provided qualities can reach 1080p, 4K, and even 8K, bringing fantastic offline playback experience. Grab Online Videos in High-Definition (HD) Quality. VideoHunter makes it incredibly convenient to download HD videos from popular media sites. All videos will be preserved in their original quality without re-encoding. Once you provide the video link to this amazing online video downloader, it will give you a list of video quality options for output. The available quality largely depends on what you’re downloading. Normally, video quality can be achieved to 1080p, 2K, 4K, or even 8K at maximum. What You Should Know about DVR Format and DVR Player. Have you ever meet some DVR format files? I would assume most of you are coming here for the reason involving with DVR format and DVR players. We will introduce the explanation of this type of format and some DVR player software in this post. For your consequent questions, there are two detailed solutions to play DVR/H.264 being illustrated. Moreover, in the below part, we have listed the best DVR players for you. So if this is exactly what you are looking for, just read the below passage and get the right one as needed and wanted. Part 1: bout DVR and H.264A. -
Hecklevision, Barrage Cinema and Bullet Screens: an Intercultural Analysis
. Volume 14, Issue 2 November 2017 Hecklevision, barrage cinema and bullet screens: An intercultural analysis Tessa Dwyer, Monash University, Melbourne, Australia Abstract: Drawing on interviews with Hecklevision programmers and the founder of software company MuVChat, this article outlines three related ‘live commenting’ phenomena that cross diverse cultural contexts: Hecklevision in the US; ‘barrage cinema’ in China and online video ‘bullet screens’ (danmu/danmaku) in China and Japan. By comparing and contrasting these text-on-screen modalities of engagement, I draw attention to underlying connections around ‘bad’ behaviour and digital disruption while also noting some of the cultural specificities and discursive frameworks at play. This intercultural analysis aims to uncover what is at stake in technology-led, interactive screen experiences when audiences take centre stage via written rather than spoken interjection. Such ‘live commenting’ points to the ‘textual intensity’ of the digital era and the culturally distinct yet interrelated ways in which diverse audiences respond. Keywords: Alamo Drafhouse, Bad-Film, Bullet Subtitles, Danmaku/Danmu, Interactive Cinema, Live-Commenting, MuVChat, Participatory Screenings, Texting, Tucao In 2017, a Texan man sued his date for texting ‘at least 10 to 20 times in 15 minutes’ during Guardians of the Galaxy Vol. 2 in 3D (Graham 2017). The film’s director James Gunn lent his support to the Texan’s court petition when he tweeted: ‘Why stop at suing? She deserves jail time!’ Tim League, founder and CEO of the Alamo Drafthouse cinema chain, weighed in on this texting-at-the-movies lawsuit, sympathising with the claimant’s sentiment that such texting behaviour constitutes ‘a threat to civilized society’ yet suggesting that that the lawsuit be dropped in order to avoid burdening the courts (Graham 2017; Cunningham 2017). -
Huya (HUYA): Winner Takes All
JAGUAR MEDIA AUG 3RD, 2020 UPDATED AUG 6TH, 2020 (see end of research note) “CHINESE TECH DEMYSTIFIED” SERIES – EPISODE 2 DouYu (DOYU) & Huya (HUYA): Winner Takes All Often referred to as China’s Twitch equivalents, DouYu and Huya are the providers of China’s biggest game livestreaming platforms. In Chinese, DouYu means “fighting fish”, while Huya is a nonsensical phrase where “Hu” means “tiger” and “ya” means “tooth”. Hence why the latter’s logo is a tiger with teeth. As a company, Huya was a late-2014 spinoff from JOYY (previously known as YY), with the latter as the new entity’s biggest shareholder. However, in 2018, Tencent acquired a 35% stake in Huya with an option to boost its control to 50.1% within the period March 8th, 2020 and March 8th, 2021. Then in April 2020, Tencent proceeded to exercise that option, effectively becoming Huya’s biggest controlling shareholder as JOYY's stake was reduced to 43% from 56%. Meanwhile, DouYu began as a livestreaming sub-segment of AcFun, a video hosting platform geared towards animation and games. But due to constant ownership issues and former employees leaving to start up their own competing businesses, a lot of spinoffs resulted from AcFun (including Bilibili, which we’ll cover another time). And not liking the direction AcFun was headed, DouYu founder Chen Shaojie decided in 2014 to sever ties with the parent company and run DouYu as its own entity. Then in 2018, Tencent invested ¥4B in DouYu in exchange for a controlling stake, on the very same day it acquired its 35% stake in Huya (see above). -
State of Mobile 2020
1 1 2 0 2 0 S T A T E O F M O B I L E Executive Summary 204B $120B 3.7 Hrs 825% 60% Worldwide Downloads Worldwide App Store Per day spent in mobile Higher avg IPO Higher per user in 2019 Consumer Spend by the average user valuation for mobile engagement in 2019 in 2019 companies in 2019 by Gen Z vs older demos in 2019 2 State of Mobile | Copyright 2020 | App Annie Table of Contents ● Macro Mobile Trends 5 ● Gaming 13 ● Finance 22 ● Retail 27 ● Streaming 32 ● Social 36 ● Other Industries Embracing Mobile Transformation 40 ● Worldwide Rankings 45 3 State of Mobile | Copyright 2020 | App Annie The Mobile Performance Standard Through our mobile data and insights platform, we help create winning mobile experiences for those aspiring to achieve excellence 4 State of Mobile | Copyright 2020 | App Annie MACRO MOBILE TRENDS Top Countries by App Store Downloads Consumers Downloaded a Record 120B 240B 100B 200B Growth From 2016 to 2019 204 Billion Apps Worldwide Downloads Worldwide 80B 160B ● Annual worldwide downloads have grown 45% in — Worldwide 45% the 3 years since 2016 and 6% year over year, — China 80% 60B 120B which is particularly impressive given this excludes — India 190% re-installs and app updates. — United States 5% 40B 80B — Brazil 40% ● Downloads are largely fueled by emerging Country-Level Downloads Country-Level markets, including India, Brazil and Indonesia. — Indonesia 70% 20B 40B ● Consumers in mature markets like the US, Japan and Korea have seen download growth level off, 0B 0B but are still seeking out new apps. -
Read the Report
23 Dec 2020 CMB International Securities | Equity Research | Company Initiation iQIYI (IQ US) BUY (Initiation) China’s online Disney in the making Target Price US$23.2 Up/Downside +34.8% Current Price US$17.2 We keep positive on IQIYI’s long-term subs trend and margin improvement , backed by its sizable users, unique original content and valuable IP. We forecast iQIYI to deliver 11% revenue CAGR during FY20-22E, with subs price hike and China Internet Sector ads recovery. Given fundraising partly priced in, we think iQIYI’s valuation is attractive. Initiate with BUY with DCF-based TP US$23.2. Sophie Huang An online video leader: Not only “Netflix”, but more. iQIYI is a leading (852) 3900 0889 online video platform in China, with 105mn subs. Backed by its sizable users, [email protected] vibrant original content and IP reserve, we forecast iQIYI to deliver 11% rev CAGR in FY20-22E, with subs price hike, ads recovery, and user expansion. Miriam Lu (852) 3761 8728 Original content makes the difference. With online video industry growth [email protected] tapering off, we believe content matters more to users than traffic or subsidies. iQIYI exceled itself with exclusive original content in both popular dramas and variety shows. Moreover, it bore initial fruits from short-episode dramas (e.g. Stock Data Mkt Cap (US$ mn) 13,499 the popularity of The Bad Kids <隐秘的角落>), and would further enrich Light Avg 3 mths t/o (US$ mn) 180.41 on Series (迷雾剧场) with stronger pipeline. We expect short-episode dramas 52w High/Low (US$) 28.03/ 14.51 series to stimulate its subs & brand ads momentum with higher ROI, such as Total Issued Shares (mn) 373 Who is Murderer<谁是凶手> in 2021 pipeline. -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
Cyberlink Powerdirector User's Guide Copyright and Disclaimer All Rights Reserved
CyberLink PowerDirector User's Guide Copyright and Disclaimer All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of CyberLink Corporation. To the extent allowed by law, PowerDirector IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION ANY WARRANTY FOR INFORMATION, SERVICES, OR PRODUCTS PROVIDED THROUGH OR IN CONNECTION WITH PowerDirector AND ANY IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, EXPECTATION OF PRIVACY, OR NON-INFRINGEMENT. BY USING THIS SOFTWARE, YOU AGREE THAT CYBERLINK WILL NOT BE LIABLE FOR ANY DIRECT, INDIRECT, OR CONSEQUENTIAL LOSS ARISING FROM THE USE OF THIS SOFTWARE OR MATERIALS CONTAINED EITHER IN THIS PACKAGE. The terms and conditions here under shall be governed and construed in accordance with the laws of Taiwan. PowerDirector is a registered trademark along with other company and product names mentioned in this publication, used for identification purposes and remain the exclusive property of their respective owners. Manufactured under license from Dolby Laboratories. Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Confidential unpublished works. Copyright 1995-2005 Dolby Laboratories. All rights reserved. For DTS patents, see http://patents.dts.com. Manufactured under license from DTS Licensing Limited. DTS, the Symbol, & DTS and the Symbol together are registered trademarks, and DTS 5.1 Producer is a trademark of DTS, Inc. © DTS, Inc. All Rights Reserved. International Headquarters Mailing Address CyberLink Corporation 15F., No. -
From Western TV Sets to Chinese Online Streaming Services: English-Language TV Series in Mainland China
. Volume 16, Issue 2 November 2019 From Western TV sets to Chinese online streaming services: English-language TV series in mainland China Xiaoran Zhang, University of Nottingham, UK Abstract: In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on licensed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English-language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of audience consumption in China have informed the localization of this specific transnational TV content. Keywords: Online streaming, streaming consumption, television distribution, transnational TV, Tencent Video, HBO, Game of Thrones Introduction As one of HBO’s most successful high-end shows, Game of Thrones (2011-) has earned a worldwide reputation that includes the fandom of Chinese viewers. -
What Is Niconico Chokaigi?
niconico Chokaigi 2020 Exhibit Proposal Please note that the contract is only in Japanese. If you would like to apply, please contact us through agency. DWANGO Co.,Ltd. ver. 8/31/2019 niconico Chokaigi 2020 overview “niconico Chokaigi 2020” will hold jointly with ”Tokaigi: Game Party Japan 2020” × “Chokaigi” focuses on experience and sharing Japanese internet cultures, motivation of visitors are performers and experience booth. “Tokaigi” focuses on video games, visitors are mainly male and video game players. Not to mention, the internet and video games have a high affinity. In 2020, “Chokaigi” and “Tokaigi” will hold jointly, and will be more attractive events! niconico Chokaigi 2020 and Tokaigi: Game Party Japan 2020 overview Date:April 18,2020(Sat) 10:00-18:00 April 19,2020(Sun) 10:00-17:00 Venue:Makuhari Messe Halls 1-11 and Event Hall Sponsor:niconico Chokaigi Executive Committee Official website:http://www.chokaigi.jp/ ※ Please be aware that there might be some small changes in the plan. © Dwango Co., Ltd. 1 What is niconico Chokaigi? Chokaigi offers you a chance to experience a variety of popular niconico content (ex: Sang it, Danced it, Anime, Games, Cooking, etc.) live and in person. This event serves as a platform for Japanese subculture; you will find people of all backgrounds - stretching from politics to entertainment to science and technology - coming together to laugh, sing, dance, and simply have fun! Online × Offline Digital × Analog Tradition × Tech. UGC × Company © Dwango Co., Ltd. 3 niconico chokaigi 2019 results Chokaigi -
Tencent Announces 2017 Fourth Quarter and Annual Results
For Immediate Release TENCENT ANNOUNCES 2017 FOURTH QUARTER AND ANNUAL RESULTS Hong Kong, March 21, 2018 – Tencent Holdings Limited (“Tencent” or the “Company”, 00700.HK), a leading provider of Internet value added services in China, today announced the unaudited consolidated results for the fourth quarter of 2017 (“4Q2017”) and audited consolidated results for the year ended December 31, 2017 (“FY2017”). FY2017 Key Highlights Revenues: +56% YoY, non-GAAP Profit attributable to equity holders of the Company: +43% YoY . Total revenues were RMB237,760 million (USD36,387 million1), an increase of 56% over the year ended December 31, 2016 (“YoY”). Operating profit was RMB90,302 million (USD13,820 million), an increase of 61% YoY. Operating margin was 38%, up from 37% last year. Profit for the year was RMB72,471 million (USD11,091 million), an increase of 75% YoY. Net margin increased to 30% from 27% last year. Profit attributable to equity holders of the Company for the year was RMB71,510 million (USD10,944 million), an increase of 74% YoY. Basic earnings per share were RMB7.598. Diluted earnings per share were RMB7.499. On a non-GAAP2 basis, which excludes certain non-cash items and certain impact of M&A transactions: - Operating profit was RMB82,023 million (USD12,553 million), an increase of 41% YoY. Operating margin decreased to 34% from 38% last year. - Profit for the year was RMB66,404 million (USD10,163 million), an increase of 44% YoY. Net margin decreased to 28% from 30% last year. - Profit attributable to equity holders of the Company for the year was RMB65,126 million (USD9,967 million), an increase of 43% YoY. -
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