Broadcasters EUROVISION Presidential Debate
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I N H a L T S V E R Z E I C H N
SWR BETEILIGUNGSBERICHT 2018 Beteiligungsübersicht 2018 Südwestrundfunk 100% Tochtergesellschaften Beteiligungsgesellschaften ARD/ZDF Beteiligungen SWR Stiftungen 33,33% Schwetzinger SWR Festspiele 49,00% MFG Medien- und Filmgesellschaft 25,00% Verwertungsgesellschaft der Experimentalstudio des SWR e.V. gGmbH, Schwetzingen BaWü mbH, Stuttgart Film- u. Fernsehproduzenten mbH Baden-Baden 45,00% Digital Radio Südwest GmbH 14,60% ARD/ZDF-Medienakademie Stiftung Stuttgart gGmbH, Nürnberg Deutsches Rundfunkarchiv Frankfurt 16,67% Bavaria Film GmbH 11,43% IRT Institut für Rundfunk-Technik Stiftung München GmbH, München Hans-Bausch-Media-Preis 11,11% ARD-Werbung SALES & SERV. GmbH 11,11% Degeto Film GmbH Frankfurt München 0,88% AGF Videoforschung GmbH 8,38% ARTE Deutschland TV GmbH Frankfurt Baden-Baden Mitglied Haus des Dokumentarfilms 5,56% SportA Sportrechte- u. Marketing- Europ. Medienforum Stgt. e. V. agentur GmbH, München Stammkapital der Vereinsbeiträge 0,98% AGF Videoforschung GmbH Frankfurt Finanzverwaltung, Controlling, Steuerung und weitere Dienstleistungen durch die SWR Media Services GmbH SWR Media Services GmbH Stammdaten I. Name III. Rechtsform SWR Media Services GmbH GmbH Sitz Stuttgart IV. Stammkapital in Euro 3.100.000 II. Anschrift V. Unternehmenszweck Standort Stuttgart - die Produktion und der Vertrieb von Rundfunk- Straße Neckarstraße 230 sendungen, die Entwicklung, Produktion und PLZ 70190 Vermarktung von Werbeeinschaltungen, Ort Stuttgart - Onlineverwertungen, Telefon (07 11) 9 29 - 0 - die Beschaffung, Produktion und Verwertung -
Contribution of Public Service Media in Promoting Social Cohesion
COUNCIL CONSEIL OF EUROPE DE L’EUROPE Contribution of public service media in promoting social cohesion and integrating all communities and generations Implementation of Committee of Ministers Recommendation Rec (97) 21 on media and the promotion of a culture of tolerance Group of Specialists on Public Service Media in the Information Society (MC-S-PSM) H/Inf (2009) 5 Contribution of public service media in promoting social cohesion and integrating all communities and generations Implementation of Committee of Ministers’ Recommendation Rec (97) 21 on media and the promotion of a culture of tolerance Report prepared by the Group of Specialists on Public Service Media in the Information Society (MC-S-PSM), November 2008 Directorate General of Human Rights and Legal Affairs Council of Europe Strasbourg, June 2009 Édition française : La contribution des médias de service public à la promotion de la cohésion sociale et a l’intégration de toutes les communautés et générations Directorate General of Human Rights and Legal Affairs Council of Europe F-67075 Strasbourg Cedex http://www.coe.int/ © Council of Europe 2009 Printed at the Council of Europe Contents Executive summary . .5 Introduction . .5 Key developments . .6 Workforce . 6 Requirements . .11 Content and services . 13 Conclusions, recommendations and proposals for further action . 18 Conclusions . .18 Recommendations and proposals for further action . .20 Appendix A. Recommendation No. R (97) 21 . 22 Recommendation No. R (97) 21 on Appendix to Recommendation No. R the media and the promotion of a (97) 21 . .22 culture of tolerance . .22 Appendix B. Questionnaire on public service media and the promotion of a culture of tolerance . -
Czech Republic Represents 21,3 %
Questionnaire - Revision of the Communication from the Commission on the application of State aid rules to public service broadcasting 1. GENERAL 1.1. A number of significant legal developments have taken place in the public broadcasting area since 2001, namely the adoption of the Audiovisual Media Services Directive, the adoption of the Decision and Framework on compensation payments as well as Commission decision-making practice. Do you think that the Broadcasting Communication should be up-dated in light of these developments? Alternatively, do you consider that these developments do not justify the adoption of a new text? There is no need for revision or change of the Communication at the moment. The Communication on the application of State aid rules to public service broadcasting (OJ 2001/C 320/4) lays down flexible principles which have made it possible to resolve a number of cases by taking due account of the specificity of the public service broadcasting sector. The Audiovisual Media Services Directive (OJ 2007/C 332/27) takes into account the emergence of new media and recalls the importance of the coexistence of public and private providers of audiovisual media services and the firm need for the public service broadcasting remit to continue to benefit from technological progress (Recital 9). Public service broadcasters consider that there is no particular pressing need to revise the current Communication. Any updating which may take place needs to ensure stability for public service broadcasters while maintaining the flexibility of the current system, a system which makes it possible to offer legal solutions to organizations of various sizes and operating on various markets which have a remit to offer public service output responding to the needs and choices of their respective societies. -
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF (Zweites Deutsches Fern German channels PHOENIX and sehen) is Germany’s national KiKA, and the European chan public television. It is run as an nels 3sat and ARTE. independent nonprofit corpo ration under the authority of The corporation has a permanent the Länder, the sixteen states staff of 3,600 plus a similar number that constitute the Federal of freelancers. Since March 2012, Republic of Germany. ZDF has been headed by Direc torGeneral Thomas Bellut. He The nationwide channel ZDF was elected by the 60member has been broadcasting since governing body, the ZDF Tele 1st April 1963 and remains one vision Council, which represents of the country’s leading sources the interests of the general pub of information. Today, ZDF lic. Part of its role is to establish also operates the two thematic and monitor programme stand channels ZDFneo and ZDFinfo. ards. Responsibility for corporate In partnership with other pub guide lines and budget control lic media, ZDF jointly operates lies with the 14member ZDF the internetonly offer funk, the Administrative Council. ZDF’s head office in Mainz near Frankfurt on the Main with its studio complex including the digital news studio and facilities for live events. Seite 2 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF is based in Mainz, but also ZDF offers fullrange generalist maintains permanent bureaus in programming with a mix of the 16 Länder capitals as well information, education, arts, as special editorial and production entertainment and sports. -
Increased Transparency and Efficiency in Public Service Broadcasting
Competition Policy Newsletter Increased transparency and efficiency in public service AID STATE broadcasting. Recent cases in Spain and Germany (1) Pedro Dias and Alexandra Antoniadis Introduction The annual contribution granted to RTVE was made dependent upon the adoption of measures Since the adoption of the Broadcasting Communi- to increase efficiency. The Spanish authorities cation in 200, the Commission followed a struc- commissioned a study on the financial situation tured and consistent approach in dealing with of RTVE which revealed that the — at the time numerous complaints lodged against the financ- — existing workforce exceeded what was neces- ing of public service broadcasters in Europe. It sary for the fulfilment of the public service tasks. reviewed in particular the existing financing Agreement could be reached between the Span- regimes and discussed with Member States meas- ish authorities, RTVE and trade unions on a sig- ures to ensure full compliance with the EU State nificant reduction of the workforce through early aid rules. The experience has been positive: Sev- retirement measures. The Spanish State decided to eral Member States have either already changed or finance these measures, thus alleviating RTVE of committed themselves to changing the financing costs it would normally have to bear. The savings rules for public service broadcasters to implement in terms of labour costs and consequently pub- fundamental principles of transparency and pro- lic service costs of RTVE exceeded the financial portionality (2). burden of the Spanish State due to the financing of the workforce reduction measures. The Com- The present article reviews the two most recent mission approved the aid under Article 86 (2) EC decisions in this field which are examples of Treaty, also considering the overall reduction of increased efficiency and transparency in public State aid to the public service broadcaster (). -
El Servicio Público De La RTVA: Definición 156 5.2.1
TESIS DOCTORAL ¿Haciendo nuestro el concepto? Adaptación del modelo de DOCTORAL servicio público europeo en la RTVA TESIS | Gloria Hoyos López López Hoyos Gloria Directores: Dr. Bernardo Díaz Nosty Dra. Montse Bonet Bagant Departamento de Periodismo 2017 Facultad de Ciencias de la Comunicación Málaga 2017 AUTOR: Gloria Hoyos López http://orcid.org/0000-0002-6701-842X EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es TESIS DOCTORAL ¿Haciendo nuestro el concepto? Adaptación del modelo de servicio público europeo en la RTVA Gloria Hoyos López Directores: Dr. Bernardo Díaz Nosty Dra. Montse Bonet Bagant Departamento de Periodismo Facultad de Ciencias de la Comunicación Málaga 2017 Málaga, 12 de enero de 2017. BERNARDO DÍAZ NOSTY, catedrático de la Facultad de Ciencias de la Comunicación de la Universidad de Málaga y MONTSE BONET BAGANT, profesora titular de la Facultat de Ciencies de la Comunicació de la Universitat Autònoma de Barcelona, directores de la tesis doctoral: ¿Haciendo nuestro el concepto? Adaptación del modelo de servicio público europeo en la RTVA realizada por GLORIA HOYOS LÓPEZ en el marco del programa de doctorado “Periodismo: Nuevos Escenarios” de la Facultad de Ciencias de la Comunicación de la Universidad de Málaga, DECLARAN Que el trabajo cumple perfectamente con los requisitos de la normativa vigente para su depósito y defensa. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Memorias RTVA (2001/2002/2003)
rtva memoria Un compromiso con el futuro de Andalucía para contribuir a su vertebración s 2001{02} 03 ocial, desde el impulso económico y el desarrollo tecnológico rtva memoria 2001{02} 03 La RTVA se ha consolidado en estos años como uno de los pilares esenciales del desarrollo social, cultural, político y económico de Andalucía. Esta Memoria hace balance de las actividades realizadas y plantea los compromisos y los retos que tendremos que afrontar en el futuro. 7 10 24 42 Presentación del Director 1 La consolidación 2 La oferta de la Televisión General de la RTVA estructural de la Empresa y la Radio de Andalucía La RTVA, una empresa Pública RTVA 2.1 Hitos de un trienio. pública necesaria 1.1 El marco normativo Los servicios informativos 1.2 Los registros 2.2 La Televisión de Andalucía Introducción del Secretario 1.3 La implantación territorial 2.3 La Radio de Andalucía General de la RTVA 2.4 Las audiencias Una apuesta de futuro: 2.5 Canal Sur Web la era de lo digital El Consejo de Administración de la RTVA sumario Coordinación Diseño de la producción Impresión Secretaría General y realización Escandón Impresores. Sevilla de la RTVA SumaySigue Comunicación Depósito legal Edición Fotografía SE-666-2004 Dirección de Comunicación Miguel Ángel León e Imagen de la RTVA 8 RTVA MEMORIA 2001{02} 03 102 114 132 156 3 La Radio y la Televisión 4 Las áreas económica, 5 La implicación en la 6 LA RTVA como agente de Andalucía como comercial y de recursos sociedad civil dinamizador del sector servicio público humanos 5.1 Reconocimientos a cadenas audiovisual 3.1 El compromiso de la RTVA 4.1 Los presupuestos del y programas 6.1 El apoyo a la producción con la sociedad trienio 2001-03 5.2 El Premio RTVA a la audiovisual y al cine 3.2 El Defensor del Oyente 4.2 Estrategia comercial. -
Licence Fee for Citizens Simple and Modern
Licence Fee for Citizens Simple and modern We have long been able to watch television programmes on a tablet and listen to radio on a smart phone. Technical equipment offers an increasing number of functions and changes in the way we use media content. Device-independent licence fees are modern and open to technological progress. For €17.50* per month the licence fee covers all public service broadcasting programmes over all means of distributions. It also ensures that there will be a varied and freely avialable programme for all citizens in the future. Public service broadcasting Independence Public service broadcasting in Germany is an essential part of a modern, democratic society: its programmes play a considerable part in forming of opinion. This solidarity-based funding through the licence fee ensures that everyone has free access to information and enables reporting independent from economic and political interests. Quality ARD, ZDF and Deutschlandradio offer high-quality-services that inform, educate and entertain: news programmes provide up-to-date and comprehensive information, whilst TV magazines and political talk shows provide background and analyses. Public service broadcasting also represents a unique range of entertainment, such as films, radio plays, TV series, sport and shows. Quality and ratings are not a contradiction, quite the opposite as several media awards show. Variety The programmes on TV, radio and the Internet are as wide-ranging as the interests of those who use them - a large part of the programmes are therefore barrier-free. Public service broadcasting also offers more than just the main channels: such as on ARD’s regional channels, 3sat, ARTE and PHOENIX, and KI.KA as well as on the additional digital channels. -
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internet resources John H. Barnett Global voices, global visions International radio and television broadcasts via the Web he world is calling—are you listening? used international broadcasting as a method of THere’s how . Internet radio and tele communicating news and competing ideologies vision—tuning into information, feature, during the Cold War. and cultural programs broadcast via the In more recent times, a number of reli Web—piqued the interest of some educators, gious broadcasters have appeared on short librarians, and instructional technologists in wave radio to communicate and evangelize the 1990s. A decade ago we were still in the to an international audience. Many of these early days of multimedia content on the Web. media outlets now share their programming Then, concerns expressed in the professional and their messages free through the Internet, literature centered on issues of licensing, as well as through shortwave radio, cable copyright, and workable business models.1 television, and podcasts. In my experiences as a reference librar This article will help you find your way ian and modern languages selector trying to to some of the key sources for freely avail make Internet radio available to faculty and able international Internet radio and TV students, there were also information tech programming, focusing primarily on major nology concerns over bandwidth usage and broadcasters from outside the United States, audio quality during that era. which provide regular transmissions in What a difference a decade makes. Now English. Nonetheless, one of the benefi ts of with the rise of podcasting, interest in Web tuning into Internet radio and TV is to gain radio and TV programming has recently seen access to news and knowledge of perspec resurgence. -
Lesbian Camp 02/07
SQS Bespectacular and over the top. On the genealogy of lesbian camp 02/07 Annamari Vänskä 66 In May 2007, the foundations of the queer Eurovision world seemed to shake once again as Serbia’s representative, Queer Mirror: Perspectives Marija Šerifović inspired people all over Europe vote for her and her song “Molitva”, “Prayer”. The song was praised, the singer, daughter of a famous Serbian singer, was hailed, and the whole song contest was by many seen in a new light: removed from its flamboyantly campy gay aesthetics which seems to have become one of the main signifiers of the whole contest in recent decades. As the contest had al- ready lost the Danish drag performer DQ in the semi finals, the victory of Serbia’s subtle hymn-like invocation placed the whole contest in a much more serious ballpark. With “Molitva” the contest seemed to shrug off its prominent gay appeal restoring the contest to its roots, to the idea of a Grand Prix of European Song, where the aim has been Marija Šerifović’s performance was said to lack camp and restore the to find the best European pop song in a contest between contest to its roots, to the idea of a Grand Prix of European Song. different European nations. The serious singer posed in masculine attire: tuxedo, white riosity was appeased: not only was Šerifović identified as shirt, loosely hanging bow tie and white sneakers, and was a lesbian but also as a Romany person.1 Šerifović seemed surrounded by a chorus of five femininely coded women. -
Redalyc.Audiencia Y Servicio Público En Las Televisiones Autonómicas
Ámbitos ISSN: 1139-1979 [email protected] Universidad de Sevilla España Olmo López, Agustín; Navarro Moreno, José Antonio Audiencia y servicio público en las televisiones autonómicas Ámbitos, núm. 29, 2015 Universidad de Sevilla Sevilla, España Disponible en: http://www.redalyc.org/articulo.oa?id=16841123004 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto ambitoscomunicacion.com http://ambitoscomunicacion.com/2015/audiencia-y-servicio-publico-en-las-televisiones-autonomicas/ Audiencia y servicio público en las televisiones autonómicas Agustín Olmo López Universidad de Sevilla [email protected] José Antonio Navarro Moreno Universidad de Sevilla [email protected] Resumen Las televisiones autonómicas, tan cuestionadas, nacieron para cubrir un espacio informativo inexistente hace tres décadas, y para potenciar un entretenimiento basado en elementos culturales más próximos. Su existencia ha sido importante para reflejar lo cercano, aunque ahora se intente diluir su labor con críticas dirigidas hacia su coste, su gestión o su independencia. El artículo busca demostrar que su aportación ha sido indudable también en la imagen identitaria de la Comunidad, haciendo un repaso cuantitativo a su seguimiento y su cumplimiento del servicio público, así como a su situación actual. Palabras clave Televisión, autonómica, identidad, servicio público. Abstract Regional televisions, nowadays as disputed, were born to meet a non-existent information space three decades ago, and for promoting an entertainment based on the closest cultural preferences. Theirs contribution to reflect of the near items has been remarkable, although sometimes critics try to dilute theirs works with complaints about theirs management or theirs independence.