Entertainment and Media Outlook: 2015 – 2019 South Africa – Nigeria – Kenya

Total Page:16

File Type:pdf, Size:1020Kb

Entertainment and Media Outlook: 2015 – 2019 South Africa – Nigeria – Kenya Entertainment and media outlook: 2015 – 2019 South Africa – Nigeria – Kenya 6th annual edition September 2015 An in-depth analysis of the trends shaping the entertainment and media industry in South Africa, Nigeria and Kenya www.pwc.co.za/outlook Use of Outlook data The data in PwC’s Entertainment and media outlook: 2015-2019 (South Africa, Nigeria & Kenya) (“the Outlook”) is a comprehensive source of consumer and advertising data, which is also available online on www.pwc.co.za/outlook. PwC continually seeks to update the online Outlook data, so please note that the data in this publication may not be aligned with the data found online. The Outlook is the most up-to-date source of consumer and advertising spend data. This document is provided by PwC for general guidance only and does not constitute the provision of legal advice, accounting services, investment advice or professional consulting of any kind. The information provided herein should not be used as a substitute for consultation with professional tax, accounting, legal or other competent advisors. Before making any decision or taking any action, you should consult with a professional advisor who has been provided with all the pertinent facts relevant to your particular situation. The information in this document is provided ‘as is’, with no assurance or guarantee of completeness, accuracy or timeliness of the information and without warranty of any kind, express or implied, including but not limited to warranties of performance, merchantability and fitness for a particular purpose. Outlook content must not be excerpted, used, or presented in any portion that would render it misleading in any manner or that fails to provide sufficient context. Permission to cite No part of this publication may be excerpted, reproduced, stored in a retrieval system or distributed or transmitted in any form or by any means – including electronic, mechanical, photocopying, recording or scanning – without the prior written permission of PwC. Requests should be submitted in writing to Vicki Myburgh at [email protected] outlining the excerpts you wish to use, along with a draft copy of the full report that the excerpts will appear in. Provision of this information is necessary for every citation request to enable PwC to assess the context in which the excerpts are being presented. Without limiting the foregoing, excerpts from the publication may be used only for background market illustration, should not be the sole source of 2015-2019 information and must not form part of the majority of sourced information. Supplier to the Outlook Numerical data presented in the Outlook was supplied by Ovum, a provider of business intelligence and strategic services to the global telecoms and media markets. Ovum is a trading division of Informa Telecoms and Media Ltd. www.ovum.com © 2015 PwC. Published in South Africa by PricewaterhouseCoopers. All rights reserved. “PwC” is the brand under which member firms of PricewaterhouseCoopers International Limited (PwCIL) operate and provide services. Together, these firms form the PwC network. Each firm in the network is a separate legal entity and does not act as agent of PwCIL or any other member firm. PwCIL does not provide any services to clients. PwCIL is not responsible or liable for the acts or omissions of any of its member firms nor can it control the exercise of their professional judgment or bind them in any way. 6th annual edition Entertainment and media outlook: 2015-2019 South Africa – Nigeria – Kenya PwC helps organisations and individuals create the value they’re looking for. We’re a network of firms in 157 countries with more than 195 000 people who are committed to delivering quality in assurance, tax and advisory services. Tell us what matters to you and find out more by visiting us at www.pwc.co.za. PricewaterhouseCoopers Inc. 2 Eglin Road Sunninghill, 2157 +27 11 797 4000 www.pwc.co.za PwC | 3 Contents Industry Internet overview 39 17 Newspaper Magazine Book publishing publishing publishing 135 153 171 Out-of-home Radio advertising 251 231 Television Filmed Video games entertainment 73 115 97 Business-to- Music business 211 187 Cybersecurity 269 Editorial team Louis de Jager Elenor Jensen Vicki Myburgh Sunet Liebenberg Charles Stuart Senior Manager Senior Manager South African Senior Manager Associate Director Entertainment & Media Industry Leader 6 | Entertainment and media outlook: 2015 – 2019 • South Africa – Nigeria – Kenya About the Outlook Editorial team Let us analyse the Entertainment and • Vicki Myburgh, South African Entertainment & Media Industry media outlook 2015-2019 forecast Leader consumer and advertising spending • Shane Murugen, South African Entertainment & Media Assurance data for you Leader • Marthie Crafford, South African Entertainment & Media Advisory Leader From filmed entertainment to Actual historic and forecast magazine publishing, we uncover how consumer and advertising spending • Osere Alakhume, Nigerian shifts in spending are likely to shape data for 11 industry sectors across Entertainment & Media Leader the future of 11 entertainment and three countries is also available • Michael Mugasa, Kenyan media industry segments over the next online at www.pwc.co.za/outlook. Entertainment & Media Leader five years. We also share our thinking • Charles Stuart, Associate Director on the hot topics transforming the The online Outlook provides raw data and individual country • Sunet Liebenberg, Senior Manager industry. commentary. • Elenor Jensen, Senior Manager Our hope is that Outlook will help • Louis de Jager, Senior Manager you form a much clearer picture of tomorrow and make more informed Editing and design business decisions based on what’s ahead. • Linda Botha • Catherine Ensor • Jackii Esterhuizen Experience the Global Outlook Photography This edition of Outlook is part of a suite of PwC publications covering the global entertainment and media • Chris Wessels, CWPhotography industry. The Global entertainment and media outlook 2015-2019 is a comprehensive source of consumer and Administration advertising spend data, also available via subscription at www.pwc.com/outlook. This publication provides in- • Carol Rochfort depth five-year historic and five-year forecast spend data and commentary for 13 industry segments in more than Acknowledgements 50 countries. Many other PwC professionals and industry experts reviewed the text and contributed local expertise to this publication and we thank them for their assistance. We also thank the following: • Isidingo • Netflorist • Provantage • Sevens Furniture Stores PwC | 7 Vicki Myburgh South African Entertainment & Media Industry Leader Welcome, clients and friends in the entertainment and media industry and beyond to the Outlook. I’m delighted once again to bring you our annual Outlook. For five years we’ve been providing comprehensive consumer and advertising spend forecasts in our Entertainment and media outlook. We’ve examined these projections in great detail, looking at how changes in spending will reshape the industry, and how consumers, advertisers, content creators and digital distributors are responding to these shifts. Each year, our team of entertainment and media (E&M) specialists generates impartial and detailed consumer and advertising spend data (five year historical and five year forecast) for 11 industry segments in three countries. So, in addition to reading this publication, I encourage you to visit the online Outlook at www.pwc.co.za/outlook. This year’s Outlook shows consumer demand for E&M experiences will continue to grow, while migrating towards video and mobile. However, it’s increasingly clear that consumers perceive no divide between digital and traditional media. What they want is more flexibility and freedom – for which read ‘choice’ – in when and how they consume. And they’re choosing offerings that combine an outstanding and personalised user experience with an intuitive interface and easy access. This includes shared physical experiences like cinema and live concerts, which appear re-energised by digital and social media. Today’s entertainment and media companies need to do three things to succeed: innovate around the product and user experience; develop seamless consumer relationships across distribution channels; and put mobile (and increasingly video) at the centre of the consumer experience. I hope you enjoy this edition of the Outlook and rest assured that our PwC E&M professionals continue to track the trends explored in this publication. Should you like to discuss anything covered, please contact one of them, using the details provided in this publication. We’d love to hear from you. Vicki Myburgh Entertainment and Media Leader PwC Southern Africa PricewaterhouseCoopers Inc., 2 Eglin Road, Sunninghill 2157, Private Bag X36, Sunninghill 2157, South Africa T: +27 (11) 797 4000, F: +27 (11) 797 5800, www.pwc.co.za Chief Executive Officer: T D Shango Management Committee: T P Blandin de Chalain, S N Madikane, P J Mothibe, C Richardson, A R Tilakdari, F Tonelli, C Volschenk The Company’s principal place of business is at 2 Eglin Road, Sunninghill where a list of directors’ names is available for inspection. Reg. no. 1998/012055/21, VAT reg.no. 4950174682 8 | Entertainment and media outlook: 2015 – 2019 • South Africa – Nigeria – Kenya Want instant access to more consumer and advertising spend data and analysis? At the click of a button you can …. Compare digital and non-digital spend data for 11 entertainment and media segments across 3 countries See year-on-year growth with Five-year forecast and five-year historical spend data Download Country and segment data and commentary to PDF. www.pwc.co.za/outlook PwC | 9 Q: How do I access consumer and advertising spending data? A: Take a look around the Outlook 2015-2019 One comparable online source of consumer and advertising spending Understanding where consumers and advertisers are spending their money in the entertainment and media industry can help inform many important business decisions. But being able to find comparable data, for multiple entertainment and media sectors and countries from a single source, can be a challenge.
Recommended publications
  • DVB TELE-Satellite Receiver Guide
    �������������������������������������� EUROPE 5.90€ UAE 25.00D BAHRAIN 2.50D KUWAIT 2.00D KSA 25.00R QATAR 25.00R OMAN 2.50R ��������� ����� �� �������������� TELE SATELLITE ����� ��� INTERNATIONAL ����������������� ������� Amazing Mini DVB-S receiver ������� ��������� ���� New Top Model Receiver with PVR ��������� ���������� ������������ LCD Monitor ������� That Can Receive it All! ����������������������� ���������������������� ����� ������� ������������������������� ��� Jason Lee, ARION’s CEO, ����������������� Shares His Company’s Story ������������������ ������������ ����������������������� ��������������������� Exclusively for TELE-satellite Readers SatcoDX “World of Satellites” SatcoDX’s “World of Satellites” Software contains the technical data from every satellite transmission worldwide ������� �������� SatcoDX Software Activation Code Version 3.10: 8AF68823FGD3B979C3ED5EG99AA482B8 ���������� Valid until the publication of the next issue of TELE-satellite magazine ���� Download SatcoDX Software here: www.TELE-satellite.com/cd/0702/eng Step by Step Guide to Get SatcoDX Soft- the Internet and is allowed to access FTP. ware Running on Your Computer: Note: SatcoDX Software also runs without 1. Download SatcoDX Software Version 3.10 Activation Code, or with an outdated Activi- from the above URL, or install from CD-ROM ation Code. However, the satellite data on TELE SATELLITE INTERNATIONAL Note: if you have already installed Version Main Address: 3.10, you do not need to do it again. Check TELE-satellite International your currently PO Box 1234 installed ver- 85766 Munich-Ufg GERMANY/EUROPA UNION sion by click- ing the HELP Editor-in-Chief: button, then Alexander Wiese ABOUT. The third line tells you the version [email protected] installed on your computer display will be either from last time you per- formed an update, or from the time when Published by: 2. Enter the Activation Code by clicking original software has been compiled.
    [Show full text]
  • Content Safety Precaution
    Content Safety Precaution ....................................................................3 1. Reference .................................................................................................4 1.1 General Features ............................................................................4 1.2 Accessories.....................................................................................5 2. Product Overview ....................................................................................6 2.1 Front Panel.....................................................................................6 2.2 Rear Panel ......................................................................................7 2.3 Remote Control Unit (RCU) ..........................................................8 3. Connection with Other Device...............................................................10 3.1 Connecting to TV.........................................................................10 3.2 Connecting the Antenna...............................................................11 4. Installation..............................................................................................13 4.1 Powering On ................................................................................13 4.2 Antenna Settings ..........................................................................13 4.3 Factory Default ............................................................................19 4.4 USALS Setup...............................................................................20
    [Show full text]
  • Emerging Competition Dynamics in Regional Pay-Tv Markets
    Emerging competition dynamics in regional pay-tv markets Tatenda Zengeni and Genna Robb he recent public outcry in Zimbabwe, Zambia and Ni- rights to broadcast Germany’s Bundesliga football games geria over a decision by Multichoice to increase its across the continent starting in August this year.9 T subscription fees points again to the competition is- sues that characterise the pay-tv market in the continent. Due Similarly, US internet-based content provider Netflix has an- to high prices, subscribers in Zimbabwe have resorted to nounced its entry into South Africa and is expected to start 10 buying decoders and paying their subscription in South Afri- broadcasting in 2016. The entry of Netflix is likely to chal- ca, which is relatively cheaper.1 In Zambia, Multichoice lenge Multichoice which currently holds exclusive rights to (DSTV) subscribers launched a campaign on social media broadcast some top American TV shows which are also calling on subscribers to boycott the new prices.2 The federal screened by Netflix. Although Netflix is entering the market High Court in Lagos Nigeria ordered Multichoice not to effect using an internet-based model, its proven ability to provide the increase in its subscription fees in April 2015 following some of the top content means that consumers are present- two cases submitted against it by subscribers.3 Multichoice is ed with an alternative which is potentially more tailored to the by far the largest provider of pay-tv in the continent. specific needs of customers who prefer to only watch certain programmes and not a bouquet of channels.
    [Show full text]
  • Second Milestone Report
    RESEARCH PROJECT IN CONJUNCTION WITH THE INDEPENDENT BLACK FILM-MAKERS’ COLLECTIVE AND THE INDEPENDENT PRODUCERS ORGANISATION FUNDED BY THE NATIONAL FILM AND VIDEO FOUNDATION: MILESTONE TWO REPORT: INDEPENDENT PRODUCTION REQUIREMENTS The Brief : This report contains an in-depth examination of what the independent production requirements are for television: focusing on public and commercial (free to air and subscription) only. The report considers the statutory requirements and the regulatory requirements It considers the enforcement by ICASA of compliance with independent production requirements for television across: free to air broadcasters (public and commercial) as well for satellite subscription broadcasters. And it considers the terms of trade of the broadcasters. Period Reviewed: In 2008, SASFED (the South African Screen Federation) and the Independent Producers’ Organisation (the IPO) together with the SABC, commissioned a report into many of the problems facing independent producers. Unfortunately, the report’s recommendations were never taken up by the incoming new management at the SABC and so the problems identified therein remain unaddressed. Also, since a 12 year period has elapsed since the production of the report, it was felt to be important to bring the learnings and the recommendations up to date. In these milestone reports however, the focus is on the present, that is, for this report the focus is on the local content requirements as they currently are, both in respect of applicable statutes, regulations and licence conditions. Methodology: Research was conducted by way of desk top research and interviews. A number of recommendations regarding amendments that are required to be made to the Electronic Communications Act, 2005 (the ECA), the relevant local content regulations prescribed in terms of the ECA, and in relation to ICASA’s monitoring and enforcement practices are made.
    [Show full text]
  • How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
    ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured.
    [Show full text]
  • "The Official Kiaat Magazine" Kiaat Diaries from the Editor
    KiaatVolume 3, Issue 1 March 2014 Diaries"The Official Kiaat Magazine" Kiaat Diaries From The Editor... Taking over the reins from you bow down – you do not one of the best designers I embrace what I offer, but you have come across was – to accept the bowl of old tuna put it simply – an almost and cow dung I feed you. I impossible task. However, the get straight to the point, no team and resources I have at sugar coating or B.S – so my disposal have been key if there’s something worth in this project being able to reporting, better be sure I come together. will have the midget in a When in Rome, do as…….? wheelchair with a blind 80- Not in the living hell!! When year old trans-gendered Jew in Rome, eat Roman noodles. on his lap. Editor: Geuren Pierce Hendricks So when in my presence, Enjoy the show!! Cover Art: "Pineapple" on Groenkloof In This Edition: campus courtesy of Innocent Mulalo Production Coordinator: RAMming it up! 3 Geuren Pierce Hendricks & Janco Hurter Cleaning the prison floor 5 Magazine Design: BTrue2U 7 Geuren Pierce Hendricks & Janco Hurter Orientation Week 2014 10 Proof Reading: A Smile 11 Mark Hubbard Socials 13 Publications Committee: Stress Management 14 Geuren Pierce Hendricks Mark Hubbard Lords of London 14 Janco Hurter Cayden Nel Express Your Faith 15 Marvin Frans Khumbulani Mdhluli Res Sport Leagues 16 Rodney Xaba Blessing Mseleku Kiaat Diaries Column 16 Thabang Mabena Kobus Labuschagne 2 Kiaat Diaries RAMming it up! Foals have since swept the world shaking the globe with their bass By Cayden Nel by playing all around the globe.
    [Show full text]
  • Are Pay-Tv and OTT in the Same Relevant Market in South Africa?*
    Occasional Note February 2019 Are pay-tv and OTT in the same relevant market in South Africa?* Elize Rich This research note is aimed at answering the question of substitutability between pay-television services (e.g. Multichoice’s DStv) and over-the-top services (OTT), (e.g. Netflix), in a South African context. This question is especially relevant, against the background of the planned listing of Multichoice on the Jo- hannesburg Stock Exchange during the first quarter of 2019, and the ongoing inquiry into subscription broadcasting services by the sector regulator, ICASA. The nub of the issue is the question whether pay-television and OTT services fall in the same relevant anti-trust market. The answer to this question will determine who has market power and whether ex-ante regulation of such market power is justified. These are important issues as policy interventions should not stifle the rapid technological developments that are characteristic of this sector. This occasional note considers these issues from an economic perspective. We highlight the fact that relative to markets with high levels of OTT penetration (e.g. the United States and Canada), South Africa has low levels of internet penetration, slow internet speeds and comparatively high data prices, all of which limit the potential substitution of pay-TV with OTT services. This requires original thinking and ap- plication of economic principles about relevant markets, in this country-specific context. About ECONEX ECONEX is an economics consultancy that offers in-depth economic analysis, covering competition economics, inter- national trade, strategic analysis and regulatory work. The company was co-founded by Prof Nicola Theron and Prof Rachel Jafta during 2005.
    [Show full text]
  • A Comparative Study of the Digital Switchover Process in Nigeria and New Zealand
    A COMPARATIVE STUDY OF THE DIGITAL SWITCHOVER PROCESS IN NIGERIA AND NEW ZEALAND. BY ABIKANLU, OLORUNFEMI ENI. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MEDIA AND COMMUNICATION. UNIVERSITY OF CANTERBURY 2018 DEDICATION I dedicate this thesis to the God that makes all things possible. Also, to my awesome and loving Wife and Daughter, Marissa and Enïola. i | P a g e ACKNOWLEDGEMENT I heartily acknowledge the support, unrelentless commitment and dedication of my supervisors, Dr. Zita Joyce and Dr. Babak Bahador who both ensured that these thesis meets an international level of academic research. I value their advice and contributions to the thesis and without their highly critical reviews and feedback, the thesis will be nothing than a complete recycle of existing knowledge. I also appreciate the valuable contributions of my Examiners, Professor Jock Given of the Swinburne University of Technology, Australia and Assistant Professor Gregory Taylor of the University of Calgary, Canada. The feedback and report of the Examination provided the much needed critical evaluation of my research to improve my research findings. I also appreciate Associate Professor Donald Matheson for chairing my oral examination. I also appreciate the University of Canterbury for providing me with various opportunities to acquire valuable skills in my course of research, academic learning support, teaching and administrative works. Particularly, I appreciate Professor Linda Jean Kenix, who gave me an opportunity as a research assistant during the course of my research. I value this rare opportunity as it was my first major exposure to academic research and an opportunity to understand the academia beyond my research topic.
    [Show full text]
  • A Brand Loyalty Model for Arts Festivals
    A brand loyalty model for arts festivals SE Burger 12309869 Thesis submitted in fulfilment of the requirements for the degree Philosophiae Doctor in Tourism Management at the Potchefstroom Campus of the North-West University Promoter: Prof E Slabbert Assistant promoter: Prof M Saayman May 2015 I DECLARATION OF INDEPENDENT WORK I, Elizna Burger, identity number 8204020004081 and student number 12309869, hereby declare that this research submitted to the North-West University, for the PhD study: A brand loyalty model for arts festivals, is my own independent work; and complies with the Code of Academic integrity, as well as other relevant policies, procedures, rules and regulations of the North-West University; and has not been submitted before to any institution by myself or any other person in fulfilment (or partial fulfilment) of the requirements for the attainment of any qualification. ____________________ ______________________ Elizna Burger Prof E. Slabbert ___________________ Date II ACKNOWLEDGEMENTS I express my gratitude to the following individuals who supported me throughout the course of completing my PhD. Above all, I thank God the almighty for giving me this opportunity and granting me the capability to proceed successfully. To my supervisor, Prof Elmarie Slabbert, whose expertise, patience and understanding played an invaluable role in completing this study. Thank you also for the motivational talks. To Prof Melville Saayman for his useful insights. Thanks to my husband, Edohan, who has supported me in every step towards completing this study. Thank you for your endless love and encouragement. To my two children, Eldoné and Leah, who were born before this study was completed and who had to stay with family on various occasions to allow me to focus.
    [Show full text]
  • Entertainment and Media Outlook: 2013 – 2017
    4th annual edition: PwC’s annual forecast of advertising and consumer spending across 3 countries and 12 industry segments South African entertainment and media outlook: 2013 – 2017 In-depth analysis of the trends shaping the entertainment industry in South Africa, Nigeria and Kenya www.pwc.co.za/outlook ii | South African entertainment and media outlook: 2013-2017 (including Nigeria and Kenya) 4th annual edition PwC South African entertainment & media outlook: 2013-2017 PwC fi rms help organisations and individuals create the value they are looking for. We are a network of fi rms in 158 countries with more than 180 000 people who are committed to delivering quality in assurance, tax and advisory services. PricewaterhouseCoopers Inc. 2 Eglin Road Sunninghill, 2157 +27 11 797 4000 www.pwc.co.za © 2013 Published in South Africa by PricewaterhouseCoopers. All rights reserved. “PwC” is the brand under which member fi rms of PricewaterhouseCoopers International Limited (PwCIL) operate and provide services. Together, these fi rms form the PwC network. Each fi rm in the network is a separate legal entity and does not act as agent of PwCIL or any other member fi rm. PwCIL does not provide any services to clients. PwCIL is not responsible or liable for the acts or omissions of any of its member fi rms nor can it control the exercise of their professional judgment or bind them in any way. Editorial team Vicki Myburgh Nana Madikane Osere Alakhume Michael Mugasa South African South African Nigerian Kenyan Entertainment & Entertainment and Entertainment and
    [Show full text]
  • 995 Final COMMISSION STAFF WORKING DOCUMENT
    EUROPEAN COMMISSION Brussels,23.9.2010 SEC(2010)995final COMMISSIONSTAFFWORKINGDOCUMENT Accompanyingdocumenttothe COMMUNICATIONFROMTHECOMMISSIONTOTHE EUROPEAN PARLIAMENT,THECOUNCIL,THEEUROPEANECONOMIC ANDSOCIAL COMMITTEEANDTHECOMMITTEEOFTHEREGIONS NinthCommunication ontheapplicationofArticles4and5ofDirective89/552/EECas amendedbyDirective97/36/ECandDirective2007/65/EC,fortheperiod2007-2008 (PromotionofEuropeanandindependentaudiovisual works) COM(2010)450final EN EN COMMISSIONSTAFFWORKINGDOCUMENT Accompanyingdocumenttothe COMMUNICATIONFROMTHECOMMISSIONTOTHE EUROPEAN PARLIAMENT,THECOUNCIL,THEEUROPEANECONOMIC ANDSOCIAL COMMITTEEANDTHECOMMITTEEOFTHEREGIONS NinthCommunication ontheapplicationofArticles4and5ofDirective89/552/EECas amendedbyDirective97/36/ECandDirective2007/65/EC,fortheperiod20072008 (PromotionofEuropeanandindependentaudiovisual works) EN 2 EN TABLE OF CONTENTS ApplicationofArticles 4and5ineachMemberState ..........................................................5 Introduction ................................................................................................................................5 1. ApplicationofArticles 4and5:generalremarks ...................................................5 1.1. MonitoringmethodsintheMemberStates ..................................................................6 1.2. Reasonsfornon-compliance ........................................................................................7 1.3. Measures plannedor adoptedtoremedycasesofnoncompliance .............................8 1.4. Conclusions
    [Show full text]
  • Ramfest – Final Line-Up Announced
    RAMfest – Final Line-up Announced: 5 cities! 5 days! 7 stages! Local and international artists! The line-up is final at last. In 2012 we bring you not two, not three, but four international acts! RAMfest has upped the game and we are proud to announce that AWOLNATION (USA) will be joining the international line-up together with In Flames (Sweden), Infected Mushroom (Israel) and drum and bass master NETSKY ft. MC Darrison (Belgium and UK). SA fans were thrilled when RAMfest announced the first headliner In Flames in November last year. In Flames vocalist Anders Friden says that the band is excited about their upcoming performances at RAMfest (JHB and CT): “We are really looking forward to touring South Africa. There are many countries that we have visited many times over, but this will be a completely new experience for us. Get ready to hear some delicious metal brewed and matured in Sweden; we hope to see many of you!" Infected Mushroom and NETSKY ft. MC Darrison were announced earlier this year and with AWOLNATION also joining the line up, South Africa is in for a phenomenal treat. With the help of our sponsors we have managed to put together the ultimate alternative playground. Book your tickets now and join us at one of the selected venues for SA's best loved annual music festival: Dates: Friday 02 March 2012: Port Elizabeth, Hume Park Saturday 03 March 2012: Bloemfontein, Mystic Boer Friday 09 March 2012: Durban, Origin Night Club Saturday 10 March 2012: Johannesburg, Riversands Farm Sunday 11 March 2012: Cape Town Ostrich Ranch, N7 *Please note that the international acts will only be performing at RAMfest in Joburg and Cape Town and Netsky will also be in Durban.
    [Show full text]