Interim Report: January to March 2017
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Dispute Prevention and Resolution in the Format Industry
Dispute Prevention and Resolution in the Format Industry Tony Stern EVP Commercial & Business Affairs, Worldwide Production, Fremantle Media WIPO Seminar, 20th January 2011 at Bird and Bird Who is Fremantle Media? • Alongside Endemol the largest producer and distributor of TV formats in the World • Produce in 21 countries, license formats into the remainder • In 2010 produced or licensed 296 Entertainment series around the world o 35 x Got Talent o 22 x X‐Factor o 20 x Family Fortunes o 19 x Farmer Wants a Wife o 17 x Idols Litigation is a Lottery in the Formats Business • Very few cases have gone all the way to judgement • Still unclear whether formats are protected by copyright • Unfair Competition is a better cause of action o Defendant acted in an unfair manner o In doing so caused damage to a competitor • FM has two cases being litigated at the moment Managing Expectations of Your Clients • Very important that your commercial people understand what is and is not actionable o No point embarking on litigation with minimal prospects of success • Copyright Law does not easily cope with formats o Are they just a collection of ideas or an expression of the ideas ? o Format would have to have been worked out in detail in a ‘bible’ o Substantial similarity bar is set very high o Not just copied most of the elements, but also the look and feel • Unfair Competition can be more fruitful if available o A number of cases in Europe where successfully prosecuted a format infringement • Genre is not copying Encourage and Police Your Own People From -
ANNUAL REPORT 2015 16 A70 TV Acad Ad.Qxp Layout 1 7/8/16 11:43 AM Page 1
ANNUAL REPORT 2015 16_A70_TV_Acad_Ad.qxp_Layout 1 7/8/16 11:43 AM Page 1 PROUD MEMBER OF »CBS THE TELEVISION ACADEMY 2 ©2016 CBS Broadcasting Inc. MESSAGE FROM THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER AS THE QUANTITY AND QUALITY OF CONTENT HAVE INCREASED in what is widely regarded as television’s second Golden Age, so have employment opportunities for the talented men and women who create that programming. And as our industry, and the content we produce, have become more relevant, so has the relevance of the Television Academy increased as an essential resource for television professionals. In 2015, this was reflected in the steady rise in our membership — surpassing 20,000 for the first time in our history — as well as the expanding slate of Academy-sponsored activities and the heightened attention paid to such high-profile events as the Television Academy Honors and, of course, the Creative Arts Awards and the Emmy Awards. Navigating an industry in the midst of such profound change is both exciting and, at times, a bit daunting. Reimagined models of production and distribution — along with technological innovations and the emergence of new over-the-top platforms — have led to a seemingly endless surge of creativity, and an array of viewing options. As the leading membership organization for television professionals and home to the industry’s most prestigious award, the Academy is committed to remaining at the vanguard of all aspects of television. Toward that end, we are always evaluating our own practices in order to stay ahead of industry changes, and we are proud to guide the conversation for television’s future generations. -
RTL Group Press Release
PRESS RELEASE RTL Group reports highest-ever first-half revenue • Group revenue up 4.2 per cent to €3.2 billion in H1/2019, and up 4.6 per cent on a like-for-like basis • EBITA broadly stable at €538 million despite higher programming and video-on-demand (VOD) investments • Profit for the period up 21.0 per cent to €443 million • Paying subscribers for RTL Group’s VOD platforms in Germany and the Netherlands up 46.2 per cent • New alliances and partnerships: RTL Group shapes the future of the European TV industry • RTL Group updates and confirms full-year 2019 outlook • New dividend policy approved, targeting a pay-out ratio of at least 80 per cent of the adjusted net profit, payable after the Annual General Meeting Luxembourg, 28 August 2019 − RTL Group announces its results for the six months ended 30 June 2019. H1/2019: record first-half-year revenue, jump in net profit Group revenue was up 4.2 per cent to a record level of €3,173 million (H1/2018: €3,046 million), driven by Fremantle and the digital businesses. On a like-for-like basis, revenue rose 4.6 per cent to €3,124 million (H1/2018: €2,988 million) – the highest growth rate since 2010. RTL Group’s digital revenue grew 21.0 per cent to €513 million (H1/2018: €424 million), driven by Fremantle, BroadbandTV, SpotX and the Group’s streaming services TV Now and Videoland. Reported Group EBITA1 was broadly stable at €538 million (H1/2018: €548 million). Higher investments in programming and VOD services were largely compensated for by significantly higher profit contributions from Fremantle and Groupe M6. -
Annual Report 2019 Key Figures
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % RTL Group share price development PROSIEBENSAT1 for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€)(%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00***** 4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
Das Ende Der Anarchie Die Allianz Zwischen Bertelsmann Und Der Internet-Tauschbörse Napster Könnte Den Elektronischen Handel Revolutionieren
Wirtschaft MUSIKINDUSTRIE Das Ende der Anarchie Die Allianz zwischen Bertelsmann und der Internet-Tauschbörse Napster könnte den elektronischen Handel revolutionieren. Künftig wollen die Anbieter für Musik – und später auch für Texte, Bilder und Filme – Geld verlangen. Aber werden die Nutzer auch zahlen? n den Bars seiner Heimatstadt Brock- Die Dynamik, mit der sich Napster ver- Dazu wird es wohl nicht kommen. Am ton bekommt Shawn Fanning noch nicht breitet hat, ist beispiellos, die Probleme Dienstag vergangener Woche gab der Ber- Ieinmal ein Budweiser. Mit seinen 19 Jah- sind es allerdings auch: Die großen Musik- telsmann-Konzern in New York überra- ren ist der Studienabbrecher nach den Ge- konzerne fühlen sich durch Fannings Ak- schend eine Allianz mit Napster bekannt. setzen des US-Bundesstaates Massachusetts tivitäten in ihrer Existenz bedroht – und Der Medienriese will sich an dem Tausch- zu jung, um ein Bier bestellen zu dürfen. überzogen ihn mit Urheberrechtsklagen. ring beteiligen und bekommt so auf einen Doch er ist alt genug, um weltweit die Für kurze Zeit musste der Dienst sogar Schlag Zugriff auf Millionen potenzieller Musikindustrie zu erschüttern. eingestellt werden, denn was Napster Kunden. Bertelsmann will den Charakter Vor anderthalb Jahren hat Fanning harmlos „file sharing“ (Daten miteinander von Napster als Tauschbörse bewahren, Napster erfunden, einen Musikbasar, auf teilen) nennt, ist für die meisten Enter- mit dem kleinen, aber feinen Unterschied, dem Internet-Nutzer kostenlos Songs ih- tainment-Konzerne nichts anderes als kri- dass künftig für den Erhalt von Musik ge- rer Lieblingsbands tauschen können. Mit minelles Raubkopieren. zahlt werden soll. seinem Projekt hat der junge Hobby- Dabei hat Napster bisher keinen Weg Das aber kann nur funktionieren, wenn Programmierer eine Entwicklung in Gang gefunden, mit dem eigenen Angebot Geld neben der Bertelsmann-Musiktochter gesetzt, die selbst nach den Maßstäben des zu verdienen. -
Background Papers Submitted by Fremantlemedia Group Ltd Private
Background papers submitted by FremantleMedia Group Ltd Private and Confidential We refer to the Request for documents dated 11 June 2019 in connection with the DCMS Committee’s Inquiry into Reality TV. We hereby attach the following template documents: 1. Main Contributor Release 2. Template Welfare Protocol 3. Filming with Children protocol 4. Template Publicity Guidelines 5. Summary of Screening Process 6. Medical Questionnaire These templates are continually updated and adapted as necessary to meet the particular production needs of our different programmes. The request for documents asks for the job titles and professional qualifications of associated staff. As explained in our submission to the Committee, we may have a Programme Doctor, a Programme Psychologist and/or a Programme Psychotherapist on our programmes. These are each professionally qualified. In general, we use: Dr Sophia Khalique MBCHB MRCGP DA DRCOG. Dr Khalique has overseen contestant welfare and medical screening across our programmes for ten years. She is a partner in the 48 Wimpole Street Medical Practice, a leading private medical practice. A general practitioner, she has particular interests in mental and occupational health. She also has a wide network of specialists supporting her role on our UK programming as required, including consultant psychiatrists and ENT specialists. Marcie McLeod-Ferros Dip COT MSC (Mental Health Studies) HCPC. Ms McLeod-Ferros has been involved with our shows as our lead programme psychologist since 2009. She qualified as an occupational therapist in 1987 and a psychotherapist in 1991. She was awarded an MSc in Mental Health Studies from Kings College London in 1997 and has worked as a psychotherapist in the NHS and private practice, having also been a clinical psychologist for the Priory Group. -
Annual Report 2009
Annual Report 2009 Digitization INNOVATION CultureFREEDOM CommitmentChange Bertelsmann Annual Report 2009 CreativityEntertainment High-quality journalism Performance Services Independence ResponsibilityFlexibility BESTSELLERS ENTREPRENEURSHIP InternationalityValues Inspiration Sales expertise Continuity Media PartnershipQUALITY PublishingCitizenship companies Tradition Future Strong roots are essential for a company to prosper and grow. Bertelsmann’s roots go back to 1835, when Carl Bertelsmann, a printer and bookbinder, founded C. Bertelsmann Verlag. Over the past 175 years, what began as a small Protestant Christian publishing house has grown into a leading global media and services group. As media and communication channels, technology and customer needs have changed over the years, Bertelsmann has modifi ed its products, brands and services, without losing its corporate identity. In 2010, Bertelsmann is celebrating its 175-year history of entrepreneurship, creativity, corporate responsibility and partnership, values that shape our identity and equip us well to meet the challenges of the future. This anniver- sary, accordingly, is being celebrated under the heading “175 Years of Bertelsmann – The Legacy for Our Future.” Bertelsmann at a Glance Key Figures (IFRS) in € millions 2009 2008 2007 2006 2005 Business Development Consolidated revenues 15,364 16,249 16,191 19,297 17,890 Operating EBIT 1,424 1,575 1,717 1,867 1,610 Operating EBITDA 2,003 2,138 2,292 2,548 2,274 Return on sales in percent1) 9.3 9.7 10.6 9.7 9.0 Bertelsmann Value -
Bertelsmann Starts 2019 with Revenue Growth
PRESS RELEASE Bertelsmann Starts 2019 with Revenue Growth • Revenues in Q1 2019 rise to €4.21 billion, highest first-quarter revenues since 2008 • Organic growth improves to 3.5 percent • High-growth businesses show organic revenue growth of 12.8 percent • Strategic progress across all divisions • Forecast confirmed Gütersloh, May 16, 2019 – Bertelsmann has made a successful start to its current financial year: The international media, services and education company recorded improved organic growth and a significant increase in revenues in the first quarter of 2019. This positive development has been driven by the Group’s digital and high-growth businesses. Group revenues increased by 5.4 percent to €4.21 billion (prior-year quarter: €3.99 billion), the highest first-quarter revenues since 2008. Organic growth improved to 3.5 percent. Bertelsmann’s high-growth businesses performed particularly well, recording organic revenue growth of 12.8 percent. Their share of total revenue amounted to 34 percent. Bertelsmann Chairman & CEO Thomas Rabe said: “The start of this year was very promising. Bertelsmann looks back on one of its best first quarters in recent years. The strategic expansion of our high-growth businesses in recent years is increasingly bearing fruit. In the first few months of 2019, we once again made considerable progress in implementing our strategy. One focus was stepping up the establishment of collaborations, such as the Bertelsmann Content Alliance in Germany. We will continue to invest in our businesses’ creativity and entrepreneurship over the course of the year and are confident of achieving our targets for the full year.” Bertelsmann has made a number of strategic advances in recent months: RTL Group increased its digital revenues by 15.8 percent in the first quarter, to €220 million (prior-year quarter: €190 million). -
„Wir Brauchen Ihr Geld Nicht“ Der Neue Bertelsmann-Chef Thomas Middelhoff Über Das Internet, Seine Zukunftsstrategie Und Die Kultur Des Gütersloher Konzerns
M. DARCHINGER Medienmanager Wössner, Middelhoff: „Überall ungenutzte Potentiale im Kampf um den Endkunden“ SPIEGEL-GESPRÄCH „Wir brauchen Ihr Geld nicht“ Der neue Bertelsmann-Chef Thomas Middelhoff über das Internet, seine Zukunftsstrategie und die Kultur des Gütersloher Konzerns SPIEGEL: Herr Middelhoff, mit viel Getöse operation wünschen. Dieses Mehr an Zu- hier wird auch künftig nicht per Diktat re- wurde Ihr Vorgänger Mark Wössner kürzlich sammenarbeit will ich jetzt organisieren. giert. Es bedarf allerdings einer verstärkten im Beisein von Kanzler und Außenminister SPIEGEL: Sie verharmlosen. Tatsächlich geht Ergänzung unserer bisherigen Arbeitswei- verabschiedet. Er sei „Seelenfischer“ und es um einen gravierenden Umbau des Kon- se durch Kooperation und Koordination. „Teufelskerl“, hieß es da. „Mark, du kannst zerns, der bisher eher ein Konglomerat von SPIEGEL: Das klingt nach Sonntagsrede. Bis- in allen Sätteln reiten“, rief ein Festredner. über 300 selbständigen Einzelfirmen war. lang arbeiten die Manager in den Berei- Ist es Ihnen da nicht unheimlich geworden? Heißt nicht Ihre eigentliche Aufgabe: Mehr chen Buch, Presse, Musik und TV eher ne- Middelhoff: Ich glaube, die unternehmeri- Macht für die Zentrale – und damit auch beneinander. sche Leistung von Mark Wössner ist von al- für den neuen Chef? Middelhoff: Deshalb müssen wir im All- len Rednern sehr zutreffend dargestellt Middelhoff: Ich weiß, daß viele diese Be- tagsgeschäft ein Querschnittsmanagement worden. Große Taten werden eben mit fürchtung haben. Aber ich sage Ihnen – zu etablieren, bei dem der Blick über den Tel- großen Worten gewürdigt. Ich dachte mir: Unrecht. Ich habe ein klares Bekenntnis lerrand zum Standard wird. Wir sind in Thomas, du kannst stolz darauf sein, der zur Dezentralität von Bertelsmann abge- den vergangenen Jahren zum Inhalte-Haus Nachfolger dieses Mannes zu werden. -
Trends in TV Production Ofcom, December 2015 Contents
Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands. -
Press Release
PRESS RELEASE Bertelsmann Launches Content Alliance in the U.K. • Fremantle, Penguin Random House, BMG, and DK announce joint podcast production business • ‘Storyglass’ as first major part of Bertelsmann Content Alliance UK London, July 13, 2020 – Bertelsmann’s content businesses in the U.K. – Fremantle, Penguin Random House UK, BMG, and DK – today announced the launch of “Storyglass” as the first project of their Bertelsmann Content Alliance in the U.K. Fremantle, Penguin Random House UK, BMG and DK are uniquely positioned to grow Storyglass as a leading player in the British podcast market. With access to talent across multiple genres, world-class production and editorial knowledge, Storyglass’ slate will benefit from the expertise of the four companies. Their joint project “This is Spoke” is already a great success – it won the “Best Podcast” accolade at the 2020 Campaign Publishing Awards, and was a 2020 Webby Honoree in the Diversity and Inclusion category. Baroness Gail Rebuck, Chair of the Bertelsmann Content Alliance UK, commented: “Creativity defines each of these businesses and I am excited to see what this collaboration can produce. Audio has always proved a really powerful tool to connect audiences with great stories, and we are confident that this alliance, as well as Storyglass, will put us in a position to deliver world-class series” Andrea Scrosati, Group COO, Fremantle; Tom Weldon, CEO, Penguin Random House UK; Alistair Norbury, President, Marketing & Repertoire, BMG UK and DK CEO Carsten Coesfeld, who represent the Board of the Bertelsmann Content Alliance in the U.K., added: “Podcasting is a fantastic space to test new IP and discover talent.