Informe Anual | 2008 | Telecinco
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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 -
An Film Partners, Zdf / Arte, Mam, Cnc, Medienboard Berlin Brandenburg Comme Des Cinemas, Nagoya Broadcasting Network and Twenty Twenty Vision
COMME DES CINEMAS, NAGOYA BROADCASTING NETWORK AND TWENTY TWENTY VISION AN FILM PARTNERS, ZDF / ARTE, MAM, CNC, MEDIENBOARD BERLIN BRANDENBURG COMME DES CINEMAS, NAGOYA BROADCASTING NETWORK AND TWENTY TWENTY VISION SYNOPSIS Sentaro runs a small bakery that serves dorayakis - pastries filled with sweet red bean paste(“an”) . When an old lady, Tokue, offers to help in the kitchen he reluctantly accepts. But Tokue proves to have magic in her hands when it comes to making “an”. Thanks to her secret recipe, the little business soon flourishes… And with time, Sentaro and Tokue will open their hearts to reveal old wounds. 113 minutes / Color / 2.35 / HD / 5.1 / 2015 DIRECTOR’S STATEMENT Cherry trees in full bloom remind us of death. I do not know of any other tree whose flowers blossom in such a spectacular way, only to have their petals scatter just as suddenly. Is this the reason behind our fascination for blossoming cherry trees? Is this why we are compelled to see a reflection of our own lives in them? Sentaro, Tokue and Wakana meet when the cherry trees are in full bloom. The trajectories of these three people are very different. And yet, their souls cross paths and meet one another in the same landscapes. Our society is not always predisposed to letting our dreams become reality. Sometimes, it swallows up our hopes. After learning that Tokue is infected with leprosy, the story pulls us into a quest for the very essence of what makes us human. As a director, I have the honour and pleasure of exploring different lives through cinema, as is the case with this film. -
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. -
¿Quién Ve La Televisión? Revisión Del Modelo Generalista En El Espacio Mediático Convergente1
Trípodos, número 40 | Barcelona 2017 | 31-54 Rebut / Received: 09/05/2017 ISSN: 1138-3305 Acceptat / Accepted: 12/06/2017 31 ¿Quién ve la televisión? Revisión del modelo generalista en el espacio mediático convergente1 Who Is Watching TV? A Revision of the Generalist Model in the Converging Media Landscape Scenario TRÍPODOS 2017 | 40 Jéssica Izquierdo Castillo Universitat Jaume I (España) La televisión actual busca un espacio Television seeks a space for relocation de reubicación dentro del panorama within the convergent media lands mediático convergente. En los últimos cape. In recent years, the multiplication años, la multiplicación de canales, la of channels, the consolidation of online consolidación de plataformas online, platforms, changes in audience habits, los cambios de hábitos del público, el the aging of the classical audience and envejecimiento de la audiencia y la the weak connection with young au débil conexión con el público joven dience have provoked transformations han provocado transformaciones que that have affected television content. han afectado a los contenidos televi This paper studies the evolution of ge sivos. neralist television during the period Este trabajo estudia la evolución de la from 2007 to 2016, when contex televisión generalista durante el perio tual and structural factors converged. do comprendido entre 2007 y 2016, These factors have determined the cu en que confluyen factores contextua rrent development of television, forming les y estructurales que han determina an oligopoly around the Atresmedia do su desarrollo actual, formando un and Mediaset groups. Together, they oligopolio en torno a los grupos Atres account for 86.4% of the advertising media y Mediaset. -
Presentation November 2008
Presentation November 2008 1 Disclaimer All forward-looking statements are TF1 management’s present expectations of future events and are subject to a number of factors and uncertainties that could cause actual results to differ materially from those described in the forward-looking statements. 2 Financial Results 3 Consolidated revenue evolution (1/2) 9 Months 9 Months % €M 2007 2008 2007 2008/2007 Total Revenue 1,880.3 1,970.3 2,763.6 -4.6 % Incl. TF1 Channel Advertising 1,187.8 1,228.7 1,718.3 - 3.3 % Incl. Other Activities 692.5 741.6 1,045.3 -6.6 % H1 H1 Q3 Q3 €M % % 2008 2007 2008 2007 Total Revenue 1,363.5 1,430.6 -4.7 % 516.8 539.7 -4.2 % Incl. TF1 Channel Advertising 891.2 924.7 - 3.6 % 296.6 304.0 -2.4 % Incl. Other Activities 472.3 505.9 - 6.6 % 220.2 235.7 -6.6 % 4 Consolidated revenue evolution (2/2) 9 Months 9 Months €M 2007 2008 2007 (*) France Broadcasting 1,539.8 1,587.5 2,220.5 TF1 Channel 1,193.1 1,235.9 1,729.3 Téléshopping group 109.4 110.9 153.1 Thematic channels in France 138.3 138.0 188.6 TF1 Entreprises 20.8 21.7 40.5 In-house production companies 24.0 23.1 28.1 e-tf1 38.1 42.6 57.4 Others 16.1 15.3 23.5 Audiovisual Rights 105.9 177.9 268.1 Catalogue 39.0 70.7 101.4 TF1 Video 66.9 107.2 166.7 International Broadcasting 234.0 204.9 274.8 Other Activities 0.6 - 0.2 Total revenue 1,880.3 1,970.3 2,763.6 (*) Reclassification of TF1 Hors Média (non-media below-the-line promotional activities) from TF1 Entreprises to Other after its merger into TF1 Publicité, and of WAT from Other to e-TF1 5 A tough economic situation Evolution of advertising revenue by sector (for TF1) Gross revenue (January-October 2008) Evol Jan-Oct. -
BECOMING PAN-EUROPEAN? Transnational Media and the European Public Sphere
The International Communication Gazette © The Author(s), 2009. Reprints and permissions: http://www.sagepub.co.uk/journalsPermissions.nav the International Communication Gazette, 1748-0485; Vol. 71(8): 693–712; DOI: 10.1177/1748048509345064 http://gaz.sagepub.com BECOMING PAN-EUROPEAN? Transnational Media and the European Public Sphere Michael Brüggemann and Hagen Schulz-Forberg Abstract / Research about the European public sphere has so far mainly focused on the analysis of national media, neglecting a dimension of transnational communication, namely transnational media. These media could serve as horizontal links between the still nationally segmented public spheres and they could be platforms of a transnational European discourse. Four ideal-types of transnational media can be distinguished: (1) national media with a transnational mission, (2) inter- national media, (3) pan-regional media and (4) global media. Within this framework the article analyses transnational media in Europe, showing that a multitude of transnational media have developed in Europe. They have acquired a small but growing and influential audience. Whether transnational media fulfil the normative demands related to the concept of a transnational public sphere remains an open question as some of these media heavily depend on government subsidies and there is a clear lack of research on the European discourses represented in these media. Keywords / EU / European media / European integration / international communication / public sphere / transnational communication / transnational media Introduction: Transnational Media and the European Public Sphere Current research on the European public sphere focuses mainly on the European- ization of national public spheres as opposed to transnational spaces of communi- cation. This approach developed out of research proposals and projects beginning in the 1990s and early 2000s that operationalized a nation-based media analysis in order to understand the public sphere’s development in the EU. -
1 La Explotación De Nuevas Fórmulas Autopromocionales Por Parte De Las
La explotación de nuevas fórmulas autopromocionales por parte de las emisoras de televisión en España: desarrollo tras la implantación de la TDT “The exploitation of new self-promotional techniques by the television in Spain: development after the implementation of DTT.” García Mirón, Silvia ([email protected]), Universidade de Vigo. Valderrama Santomé, Mónica ([email protected]), Universidade de Vigo. Palabras clave: televisión, emisoras televisivas, autopromoción, redes sociales, fidelización telespectador. Key words: television, TV stations, self promotion, social networks, viewer loyalty. 1. Presentación: objeto de estudio, hipótesis y metodología El desarrollo de las Nuevas Tecnologías de la Información y Comunicación (NTICs) ha supuesto la implantación de diversos cambios en las entidades empresariales, en su organización, gestión del trabajo pero también a la hora de plantearse sus estrategias de comunicación. Lógicamente, en el ámbito televisivo este hecho se ha formulado a un mayor nivel como consecuencia de la implantación de la Televisión Digital Terrestre (TDT) en el año 2010. A raíz de esta nueva situación contextual, que ha supuesto la duplicidad de ofertas de contenidos programáticos, las emisoras de televisión se han visto forzadas a aumentar sus esfuerzos comunicativos y, especialmente, sus técnicas de promoción propia, más allá de la utilización del espacio en la pantalla tradicional de televisión. La presencia en redes sociales, desarrollo de videojuegos complementarios a los espacios de producción propia, producción de twittersodios para integrar y ampliar contenidos o la creación de diversos tipos de productos interactivos asociados a las emisiones son algunas de las actuales fórmulas que las emisoras televisivas están utilizando para la configuración de sus estrategias autopromocionales. -
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FEBRERO A NOVIEMBRE DE 2006 R E S U M E N G E N E R A L FICHA TÉCNICA Universo: población de 14 o más años (37.439.000 individuos) Muestra anual tres últimas olas: 45.590 (+38.147 ampliación medio radio: EGM RADIO XXI, +32.174 ampliación medio prensa: EGM PRENSA ) Método de recogida de información: entrevista "face to face" (+ entrevista telefónica para ampliación radio y prensa) DiseñoC AIMC - Prohibidamuestral: su reproducción selección total aleatoria o parcial sin de citar hogares a AIMC como y elecciónfuente y titular de de una la información persona y datos. del hogar AIMC - Capitán Haya, 61 - 28020 Madrid - Tel. 91 570 11 74 - Fax: 91 570 20 49 - e.mail: [email protected] - http://www.aimc.es EGM: AÑO MÓVIL FEBRERO - NOVIEMBRE 2006 AUDIENCIA GENERAL DE MEDIOS PENETRACIÓN % % de individuos 0 102030405060708090100 41,8 DIARIOS 25,4 SUPLEMENTOS 47,7 REVISTAS 56,1 RADIO 88,6 TELEVISIÓN 50,7 EXTERIOR AUDIENCIA Diarios: lectores / día 6,0 Suplementos: lectores / semana CINE Revistas: lectores / periodo publicación Radio: oyentes / día Televisión: espectadores /día Exterior: soportes vistos ayer 22,2 Cine: espectadores / semana Internet: usuarios / ayer INTERNET C AIMC - Fuente: EGM / EGM RADIO XXI / EGM PRENSA AIMC - Capitán Haya, 61 - 28020 Madrid - Tel. 91 570 11 74 - Fax: 91 570 20 49 - e.mail: [email protected] - http://www.aimc.es EGM: AÑO MÓVIL FEBRERO - NOVIEMBRE 2006 AUDIENCIA GENERAL DE MEDIOS EVOLUCIÓN (Penetración %) 1997 1998 1999 2000 20012002 2003 2004 2005 2006 41,1 41,1 41,8 39,7 37,7 DIARIOS 37,4 36,9 36,3 35,2 35,9 32,4 31,9 32,1 31,3 30,4 30,4 29,5 29,4 27,7 25,4 SUPLEMENTOS 54,7 55,1 53,6 53,8 53,2 53,3 52,8 53,1 51,4 REVISTAS 47,7 57,9 56,8 56,1 55,0 55,5 RADIO 54,7 53,5 53,0 52,9 52,4 90,7 90,7 89,9 89,6 89,4 89,4 89,2 89,2 88,9 TELEVISIÓN 88,6 50,7 EXTERIOR 11,0 11,2 10,2 10,2 10,2 8,8 9,0 8,9 CINE 7,1 6,0 22,2 19,7 16,8 13,6 2,9 0,9 1,8 10,6 INTERNET 9,0 5,6 C AIMC - Fuente: EGM / EGM RADIO XXI / EGM PRENSA AIMC - Capitán Haya, 61 - 28020 Madrid - Tel. -
Informe 2010 Responsabilidad Corporativa Ver Vídeo Institucional Índice
Informe 2010 Responsabilidad Corporativa Ver vídeo institucional índice Acerca de este informe 4 Carta del Presidente y los Consejeros Delegados 6 El Grupo Telecinco 10 Valor Económico 20 Gestión Sostenible 46 Contenidos 62 Publicidad 82 Equipo Humano 86 Desempeño Ambiental 108 Verificación externa 116 Cuadro de Indicadores GRI 120 Glosario 132 Directorio 138 Acerca de este informe Alcance El presente Informe, sexto documento anual que publica Telecinco, pretende in- formar sobre los compromisos en materia de Responsabilidad Corporativa del Grupo, y se refiere al período comprendido entre el 1 de enero y el 31 de diciem- bre de 2010. Este es el tercer año en el que el Informe ha sido verificado por un auditor externo. El Informe cubre las actividades desarrolladas informe cubre los requisitos asociados al Nivel por el Grupo Telecinco en territorio español, A+ de aplicación de G3, lo cual implica que cum- puesto que éstas son las más significativas y re- ple con las especificaciones asociadas al nivel A presentativas del negocio, con la limitación que de G3 en cuanto a Perfil, Enfoques de gestión e se explica a continuación: Indicadores de Desempeño, y que ha sido some- tido a mecanismos de revisión externa. A partir del 28 de diciembre, y como se detallará en el capítulo correspondiente al Grupo Telecin- Nivel de aplicación de memoria co, la mercantil Sociedad General de Televisión Cuatro, S.A.U.(en adelante Sogecuatro), gestora A+ Verificación externa de la Memoria Los mismos requisitos Información sobre el Informa sobre cada del canal de televisión en abierto “Cuatro”, pasa que para el nivel B enfoque de la dirección indicador central G3 y para cada Categoría de sobre los indicadores a formar parte del Grupo Telecinco. -
2020 Selection
APOLLO 11: BACK ON THE MOON CODED BIAS KILLING PATIENT ZERO PICTURE A SCIENTIST APOLLO 11 : RETOUR SUR LA LUNE Written and directed by Shalini Kantayya Written and directed by Laurie Lynd Written and directed by Ian Cheney and Sharon Shattuck Directed by Charles-Antoine de Rouvre 85 min - US - 2020 100 min - Canada - 2019 Written by Sophie Bocquillon and Charles-Antoine de © 7th Empire Media © Fadoo Productions 97 min - US - 2020 Rouvre French Premiere In association with Fine Point Films © Uprising LLC In association with The Wonder Collaborative 96 min - France - 2019 French Premiere French Premiere © Grand Angle Productions - Groupe EDM Modern society sits at the intersection of two In association with Mediawan Thematics, Sveriges Scapegoated as “Patient Zero” at the center of Television, Al Arabya Channel, RSI, HRT Croatia, crucial questions: what does it mean when Picture A Scientist chronicles the groundswell TVP Poland, RTVS, SRF, Czech Television and artificial intelligence increasingly governs our the AIDS epidemic, Gaëtan Dugas was the France Télévisions liberties? And what are the consequences for handsome, openly gay French-Canadian flight of researchers who are writing a new chapter French broadcast: France 2, Toute l'Histoire the people AI is biased against? When MIT attendant characterized as singlehandedly for women scientists. Biologist Nancy Hopkins, Media Lab researcher Joy Buolamwini spreading AIDS to North America. In this chemist Raychelle Burks, and geologist Jane Willenbring lead viewers on a journey deep 16 July 1969. A rocket, carrying Apollo 11, sits discovers that most facial-recognition software riveting documentary, director Laurie Lynd sets into their own experiences in the sciences, on the launch pad at Cape Canaveral awaiting does not accurately identify darker-skinned out to dismantle this myth. -
Hacia Una Reforma Integral Dei Sector De La Televisión En Espana Towards Integral Reforms of the Sector of the Television in Spain
Hacia una reforma integral dei sector de la televisión en Espana Towards integral reforms of the sector of the television in Spain Marta Roei Profesora de Políticas y Estrategias de la programación audiovisual, Facultadde Ciencias Socialesy de la Comunicación, Universidad Católica San Antonio de Murcia. Coordinadora dei programa de dOdorado en Ciencias de la Comunicación. Correo eledrónico: [email protected] Resumo Neste artigo tenta-se oferecer uma visão panorâmica sobre o setor da televisão generalista na Espanha. Há duas grandes considerações: um primeiro bloco explanatório sobre as origens da televisão e de sua evolução até 2004, com uma incidência especial na configuração da televisão, do serviço público e na desregulamentação do setor. E um segundo bloco são explicadas as reformas implantadas na televisão espanhola a partir de 2004, periodo que coincide com uma mudança eleitoral. Palavras-chave: Políticas da televisão, Espanha, televísão digital, índices de televisão. Introducción particular para cada ámbito de cobertura (Écija, 2005: 26). EI 14 de marzo de 2004, tras En este artículo se pretende unas elecciones democráticas ofrecer una visión panorámica condicionadas por los atentados acerca deI sector de la televisión I terroristas en Madrid deI ll-M , el generalista en Espana. Se han Partido Socialista Obrero Espanol planteado dos grandes apartados: un (PSOE) presidido por José Luís primer bloque explicativo sobre los Rodríguez Zapatero se hace con el orígenes de la televisión y su gobiemo en Espana, tras ocho anos evolución hasta 2004, haciendo de gobiemo Popular deI conservador especial incidencia en la José María Aznar. 1 EI 11 de marzo de 2004 ha configuración de la televisión como pasado ya a la historia de Espana Desde entonces, el nuevo servicio público y en la desregulación como 11-M. -
Médiamat'thématik
PRESS RELEASE Levallois, July 9, 2019 Médiamat’Thématik Audience of channels on satellite, ADSL, cable or optical fibre From 31st of December 2018 to 16th of June 2019 Médiamat’Thématik is the audience measurement in France for TV watched live, time-shifted and via catch-up TV on the TV set by people receiving a satellite, ADSL, cable or fibre optic TV package, namely 79% of the total TV-equipped population base residing in France. Reference sample : 9,390 people aged 4 years and over, living in 3,894 households that receive one of these packages. 1 Médiamétrie - Médiamat’Thématik – January / June 2019 - Copyright Médiamétrie – All rights reserved PRESS RELEASE Médiamat’Thématik From 31st of December 2018 to 16th of June 2019 VIEWING TIME – AVERAGE MONDAY-SUNDAY 3am-3am Individuals 4+ Total TV daily viewing time* Daily viewing time on TV set** Global universe Total TV-equipped Global universe Total TV-equipped Mediamat'Thematik population base Mediamat'Thematik population base Viewing Time by 3:36 3:46 3:27 3:36 Individual (h:mn) AUDIENCE SHARE BY AGGREGATE – AVERAGE MONDAY-SUNDAY 3am-3am Individuals 4+ Audience share as % Audience share as % Global universe Established Pay-TV Mediamat'Thematik reception Total TV of which: 100.0 100.0 Free-to-air DTT channelsa) 86.8 76.8 Special-interest channels 12.9 22.8 REACH AND AUDIENCE SHARE FOR FREE DTT CHANNELS AVERAGE MONDAY- SUNDAY 3am-3am – MEDIAMAT’THEMATIK UNIVERSE Individuals 4+ 4 weeks reach CHANNELS Nb of viewers (in Audience share as % thousands) TF1 40,620 19.7 FRANCE 2 37,866 13.1 FRANCE