Cortometrajes 2009 Short Films

Total Page:16

File Type:pdf, Size:1020Kb

Cortometrajes 2009 Short Films DÁCIL Dirigido por/Directed by ADRIÁN SILVESTRE Productora/Production Company: ECAM (ESCUELA DE CINEMATOGRAFÍA Y DEL AUDIOVISUAL DE LA COMUNIDAD DE MADRID). Juan de Orduña, 3 Ciudad de la Imagen. 28223 Pozuelo de Alarcón (Madrid). Tel.: 91 512 10 60. Fax: 91 512 11 70. www.ecam.es ; [email protected] ; [email protected] Director: ADRIÁN SILVESTRE. Producción/Producer: ECAM. Dirección de producción/Line Producers: MIGUEL AGUIRRE, GLORIA RÚA. Guión/Screenplay: ADRIÁN SILVESTRE, SABINA URRACA GARCÍA, JORGE MARTÍNEZ. Fotografía/Photography: AITOR URIBARRI. Música/Score: RÚDIGUER. Dirección artística/Production Design: LUCÍA DÍAZ, BERTA SALINAS. Montaje/Editing: GONZALO SOLANO, JULIANA MONTAÑES. Sonido/Sound: DAVID ALMEIDA RIBEIRO. Maquillaje/Make-up: KARYTYNA RAMOS. Intérpretes/Cast: CIRCE RODRÍGUEZ, FERNANDO VALDIVIELSO, ROBERTO CARBONELL, GEMA GUILMAÍN, JESÚS GODOY, NICOLE DÍAZ, CLARA MACÍAS, LOURDES PRIETO. 35 mm. Panorámico 1:1,85. Género/Genre: Comedia. Duración/Running time: 17 minutos. Fechas de rodaje/Shooting dates: 24/03/2008 - 28/03/2008. Lugares de rodaje/Locations: Madrid. Festivales/Festivals: l Festival Festicurts 2009 (España) Web: www.ecam.es l Amiens International Film Festival 2009 (Francia) l Short Film Festival Alter-Native 2009 (Rumania) l Brno Sixteen Short Film Competition 2009 (República Checa) l International Student Film Festival Písek 2009 (República Checa) l Norrkopping Film Festival Flimmer 2009 (Suecia) l Fenavid Internacional 2009 (Bolivia) l Festival de Cine de Baja California 2009 (México) l Certamen Nacional de Cortos - Astorga 2009 (España) l Ibergente 2009 (Ecuador) l Festival Pantalla Pinamar 2009 (Argentina) l Semana de Cine de Valladolid - Seminci 2008 (España). Distribución nacional/Spain Distribution: ECAM (ESCUELA DE CINEMATOGRAFÍA Y DEL AUDIOVISUAL DE LA COMUNIDAD DE MADRID). Juan de Orduña, 3 Ciudad de la Imagen. 28223 Pozuelo de Alarcón (Madrid). Tel.: 91 512 10 60. Fax: 91 512 11 70. www.ecam.es ; [email protected] ; [email protected]. Dácil y Roberto son compañeros de clase, en la facultad de Bellas Artes. Su relación comienza a transformarse cuando Simón, su profesor de videoarte, les encarga como proyecto final un autorretrato, utilizando el vídeo como medio de expresión. Dácil and Roberto are classmates in the faculty of Fine Arts. Their relationship starts to change when Simón, their video arts teacher, gives them as a final project a self-portrait, using video as the means of expression. Dácil et Roberto sont des camarades de classe, dans la faculté des Beaux-arts. Leur relation commence à changer lorsque Simón, leur professeur de Vidéoart, leur charge de faire, comme projet de fin d’année, un autoportrait en employant la vidéo comme moyen d’expression. © Ministerio de Cultura LA DAMA Y LA MUERTE THE LADY AND THE REAPER Dirigido por/Directed by JAVIER RECIO GRACIA Productoras/Production Companies: KANDOR GRAPHICS, S.L. (50%) Parque Tecnológico Ciencias de la Salud (Nave 9). Edifico BIC. Avenida Innovación, s/n. 18016 Armilla (Granada). Tel.: +34 958 12 58 37. www.kandorgraphics.com ; [email protected] ; [email protected] GREEN MOON ESPAÑA,S.L. (50%) Paseo Marítimo Ciudad de Melilla, 23. 29016 Málaga. Tel.: + (34) 95 22 29 529. Fax: + (34) 95 22 29 529. [email protected] Director: JAVIER RECIO GRACIA. Producción/Producers: ANTONIO BANDERAS, MANUEL SICILIA, ANTONIO MELIVEO, JUAN MOLINA, MARCELINO ALMANSA, KANDOR MOON. Producción ejecutiva/Executive Producers: JUAN MOLINA, ANTONIO MELIVEO, ENRIQUE POSNER. Producción asociada/Associate Producers: YOLANDA POLONIO, PEDRO CARMONA, FRANCISCO FORTES, ESTEBAN MILENA, JAVIER DOMÍNGUEZ, RAÚL GARCÍA (U.S.A.). Jefes de producción/Production Managers: LAURA GAMERO, TRINIDAD SUÁREZ, MARISA LUISA MOLINA. Guión/Screenplay: JAVIER RECIO GRACIA. Cámara/Camera Operator: JAIME VISEDO. Música/Score: SERGIO DE LA FUENTE. Dirección artística/Production Design: JAVIER RECIO GRACIA, ÓSCAR J. VARGAS, FRANCISCO PORCEL. Montaje/Editing: CLAUDIO HERNÁNDEZ. Montaje de sonido/Sound Design: FEDERICO PÁJARO. Mezclas/Re-recording Mixer: JORGE LERNER, FEDERICO PÁJARO, ÁLVARO SALGADO. ANIMACIÓN/ANIMATED FILM: (3D.) Dirección de animación/Animation Directors: FRANCISCO Web: www.ladamaylamuerte.com ; FERNÁNDEZ DAPENA, GABRIEL GARCÍA. www.theladyandthereaper.com Efectos especiales/Special Effects: SERGIO JUAN (SUPERVISOR), RAÚL PÉREZ. Supervisión postproducción/Post-Production Supervisor: JAVIER FERNÁNDEZ. Una anciana espera morir para poder reencontrarse con su Supervisor personajes/Character Supervisor: JOSÉ LUIS difunto marido. Cuando, por fin, su vida se desvanece, renace NAVARRO. súbitamente en un quirófano: se inicia así una lucha frenética Modelado personajes/Character Modelling: JOSÉ A. PORTILLO, entre la propia muerte y un arrogante doctor. ANTONIO FRÍAS. Texturas personajes/Character Texturing: MIGUEL A. LACAL. Personajes/Character Setup: IKER J. DE LOS MOZOS. Sets & Props Supervisor: PEDRO CALVO "POCOCO". An elderly woman is waiting to die in order to rejoin her deceased Props & Shading Supervisor: JUAN SIQUIER. husband. When she is finally passing away, she is suddenly reborn in Dirección ténica /Technical Supervisor: DANIEL ALEJO. an operating room, thus beginning a frantic fight between the reaper Iluminación/Lighting: PEPE CAZORLA. and an arrogant doctor. Postproducción/Post-Production: JAVIER FERNÁNDEZ. Estereógrafo/Stereographer: ANTONIO MONTES (SUPERVISOR), MIGUEL "RIDLI" ESPADA. Director de doblaje/Dubbing Director: MIGUEL ÁNGEL PÉREZ (ROBIN AUDIO). Cortometraje/Short Film. 35 mm. (3D estereoscópico). Scope 1:2,35. Género/Genre: Animada. Duración/Running time: 8 minutos. Laboratorios/Laboratories: TECHNICOLOR. Estudios de sonido/Sound Studios: ARAMA FACILITIES, ALSON, TECNISON. Fechas de rodaje/Shooting dates: 01/09/2008 - 18/08/2009. Lugares de rodaje/Locations: Granada. Premios/Awards: l XXIV Premios Goya 2010 Mejor cortometraje de animación l Premios Oscar 2010 / 2010 Academy Awards USA Nominada mejor cortometraje de animación/ Nominated Best Short Film, Animated l Festival de cine Latino de San Diego (EE.UU./USA) Mejor corto de animación/ Best Animation Short Film l Festival Mediterráneo de Nuevos Realizadores de Larissa Golden Horse l 39 Alcine. Festival de Cine de Alcalá de Henares, 2009 Premio del Público, Premio Especial de Canal + al Mejor Cortometraje y © Ministerio de Educación, Cultura y Deporte Trofeo Caja Madrid a la Mejor Música Original / People's Choice Award, CANAL+ Award, Best Film Score l Festival Artifice Premio Silvania Mejor corto de animación l 17º Festival Solidario de Cine Español de Cáceres Mejor cortometraje/ Best Short Film l I Festival Internacional de Cortometrajes de Animación de Roanne / 1st Festival International du Court Métrage d'animation de Roanne, 2010 Premio Internacional del Público / Best International Short Film - Audience Award l 2010 Asecan Awards Mejor cortometraje/ Best Short Film l 12º SPIFF Spiffy de Plata a la mejor animación l 14th I Castelli Animati: International Animated Film Festival, 2009 Special Mention l ArtFutura 2009 2º Premio 3D. Festivales/Festivals: l Animabasauri – Animabasque 2010, Spain l ITFS, Internationales Trickfilm Festival Stuttgart 2010 l 13º Festival de Cine Español / 13th Spanish Film Festival, Australia l ANIFEST 2010, Teplice - República Checa l 14º Festival de Cortometrajes de Valladolid – La Fila / 14th Valladolid – La Fila – Short Film Festival, Spain l Festival Curt Ficcions 2010 - Barcelona, Madrid (Spain) l Monstra, FESTIVAL de Animaçao de Lisboa 2010, Portugal l 6º Festival Artífice de Vídeo – Cortometraje. Loja, Spain l Festival Mediterráneo de Nuevos Directores de Larissa 2010, Grecia l Sotocine 2010. Santander, Spain l 23ª Semana de Cine de Medina del Campo, Spain l Cartoons On The Bay, Pulcinella Awards 2010, Rapallo (Italia) l WORLDFEST – Houston International Film & Video Festival (EE.UU./USA) l Anima 2010 (Bélgica/Belgium) l SPIFF 2010 (EE.UU./USA) l Festival Cortomieres 2010, Spain l Anima Mundi, Brasil/Brazil l 50 Festival Internacional de Cine de Cartagena de Indias (Colombia) Concurso iberoamericano de cortometrajes l Animadrid 2009, Spain Competición Internacional de cortometrajes l 42nd Sitges Festival Internacional de Cinema Fantàstic de Catalunya, Spain l 16th Festival Internacional de Jóvenes Realizadores de Granada / Granada International Short Film Festival, Spain l 20th Art Futura 2009 (España, Argentina) l 5th Animacor: Festival Internacional de Animacion, Spain l 39 Alcine. Festival de Cine de Alcalá de Henares, Madrid, Spain l 33rd Cinanima: Festival Internacional de Cinema de Animação / Cinanima: International Animated Film Festival. Espinho (Portugal) l 51st ZINEBI: Festival Internacional de Cine Documental y Cortometraje / ZINEBI: International Festival of Documentary and Short Film. Bilbao, Spain l 14th I Castelli Animati: International Animated Film Festival. Rome, Italy l 8th Almería en corto: Festival Internacional de Cortometrajes / Almería en corto: International Short Film Festival, Spain l 1st Festival International du Court Métrage d'animation de Roanne, France. Ventas internacionales/International Sales: KANDOR GRAPHICS, S.L. Parque Tecnológico Ciencias de la Salud (Nave 9). Edifico BIC. Avenida Innovación, s/n. 18016 Armilla (Granada). Tel.: +34 958 12 58 37. www.kandorgraphics.com ; [email protected] ; [email protected]. © Ministerio de Educación, Cultura y Deporte DAME UN MOTIVO GIVE ME A REASON Dirigido por/Directed by SALVADOR CUEVAS Productora/Production Company: SALVADOR CUEVAS PAZ.
Recommended publications
  • Download Paper (PDF)
    Worldwide Readership Research Symposium 2007 Session 2 Paper 9 FREE NEWSPAPER READERSHIP Piet Bakker, Amsterdam School of Communications Research, University of Amsterdam Abstract Twelve years after the introduction of the first free commuter newspaper in Sweden, circulation of free newspapers has risen to 40 million daily copies. Readership of free newspapers is more complex and in many cases harder to pin down. In general it is different from readership of paid newspapers. The first difference concerns the demographics of the readers: free papers target the affluent 18 to 34 group and in many cases try to achieve that by choosing particular ways of distribution, and also by concentrating on specific content. Age, indeed seems to be significantly lower in most cases although the average readers does not seem to be particularly wealthy. The second distinct feature is the amount of unique readers of free newspaper. Results on the few available cases indicate that around half of the readers only read papers although also lower levels have been reported. The third issue concerns readers per copy. The traditional free commuter daily can reach to a rather high number of readers per copy; but with many markets reaching free newspaper saturation this number seems to be dropping, whereas free door-to-door distributed free papers and afternoon papers have a lower readership per copy. In this paper we will present information on these three issues from a dozen markets, using audited readership data. Free Newspaper Readership The World Association of Newspapers (2007) reported on the year 2006 that daily circulation of newspapers increased with 4.61 percent (25 million copies) compared to 2005.
    [Show full text]
  • Reuters Institute Digital News Report 2020
    Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media.
    [Show full text]
  • CH HK Citation Bar QSG Global SOP V18
    CITATION BAR 1 APP Google Home Google Home Download and run the Google Home app on a phone or tablet. 2 PRODUCT TOUR Citation Bar x1 HDMI cable x1 Regional power cord x1 IR repeater x1 (varies depending on country) Wall mount bracket x2 Remote control x1 Top Front Touch screen Lights when active Volume Back Optical HDMI >5s Reset IR Repeater Audio IN HDMI Power 3 CONTROL / INFORMATION ON TOUCH SCREEN Wi-Fi status Touch screen Mic mute/unmute Press to ask your Google Assistant for help Bluetooth® 4 GET STARTED Plug in the power Download and run the Google Home app on a phone or tablet. Follow the instructions on the touch screen and Google Home app to finish the setup *Enable Bluetooth (iPhone / iPad) 5 WALL MOUNT THE CITATION BAR Use tape to stick the wall-mounted paper guide on the wall, push a pen tip through the center of each mounting hole to mark the wall-mounted bracket location and remove the paper. TV 2-D=4mm Screw the wall mount brackets on the pen mark; screw the threaded mounting post into the back of the Citation Bar, then hook the Citation Bar on the wall. 1 3 2 ≤8 mm/ 4mm/0.16" 0.31" ≥35 mm/1.4" 6 CHROMECAST PLAY MUSIC PROCEDURE Step 1: Open Chromecast supported app Step 2: Play Music Step 3: Tap the cast icon and select “Citation Bar” e.g. Spotify Pandora TuneIn Deezer Google Play Music * Device can support multi-room control provided by Chromecast built-in, more details you can refer to Google Home app.
    [Show full text]
  • Than 40% of Individuals in the EU25 Used the Internet at Least Once a Week a Quarter of Households and Two-Thirds of Enterprises Had Broadband Internet Access
    45/2006 - 6 April 2006 Internet usage in the EU25 in 2005 More than 40% of individuals in the EU25 used the internet at least once a week A quarter of households and two-thirds of enterprises had broadband internet access In the EU25 , 48% of households 1 had access to the internet during the first quarter of 2005, and 23% had a broadband connection. At the beginning of 2005, 91% of enterprises 2 had access to the internet, and 63% of enterprises had a broadband connection. This information comes from a report 3 released by Eurostat, the Statistical Office of the European Communities . This report presents the results of surveys of internet access and broadband connections for households and enterprises, and internet usage by individuals, in the EU25 Member States, Norway and Iceland . It also covers e-commerce. Household internet access ranged from 16% in Lithuania to 78% in the Netherlands In the first quarter of 2005, the highest proportions of households with internet access were recorded in the Netherlands (78%), Luxembourg (77%), Denmark (75%) and Sweden (73%). The lowest levels were registered in Lithuania (16%), the Czech Republic (19%), Greece and Hungary (both 22%) and Slovakia (23%). At the beginning of 2005, the highest proportions of enterprises with internet access were recorded in Finland (98%), Denmark (97%), Slovenia and Sweden (both 96%). Only in Latvia (75%), Hungary (78%), Cyprus (85%), Lithuania (86%) and Poland (87%) were fewer than 90% of enterprises connected to the internet. Broadband offers a much faster connection to the internet, and offers the potential of changing the way the internet is used.
    [Show full text]
  • SOCIAL RESPONSIBILITY in SCHIBSTED MEDIA GROUP Responsible Business
    SOCIAL RESPONSIBILITY IN SCHIBSTED MEDIA GROUP Schibsted Media Group’s mission is “Empowering people in their daily life”. We empower people with news and opinions, by providing transparent and secure marketplaces and by defending freedom of the press and editorial integrity. Throughout our history we have been driven by a desire to challenge conventions and think in new directions. We consider ourselves as a defining force within our industry and as such our vision is “Shaping the media of tomorrow. Today.” The values that shall support our mission and vision are: • We have integrity • We are innovative • We are a team • We are here to win Schibsted Media Group’s social responsibility is closely linked to our mission, vision and values. As such, acting socially responsible is connected to our daily business activities, our stakeholders and our responsibility for people, environment and society that are affected by our business. Social responsibility in Schibsted Media Group is defined as the responsibility of our entities for their impacts on society. The aim of our social responsibility is to maximize the creation of shared value for our shareholders, for our other stakeholders and the society at large in addition to identify, prevent and mitigate our possible adverse impacts on our stakeholders and the society at large. In 2011 Schibsted became a member of the Nordic Media CSR Forum with the aim of setting the stage for corporate social responsibility in the media sector. For more information and the Forum’s activity report for 2012 – please see www.nordicforum.org . Schibsted Media Group’s social responsibility also encompasses important principles relating to human rights, employee rights, environment and anti-corruption.
    [Show full text]
  • Festival Internacional De Cine De Huesca 2006 Huesca International Film Festival 2006 Patrocinadores Sponsors
    FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 PATROCINADORES SPONSORS EDITA FUNDACIÓN FESTIVAL DE CINE DE HUESCA IMPRIME ARPI, ZARAGOZA año 2006 DEPOSITO LEGAL ????????????? 2 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 3 ENTIDADES DE COOPERACIÓN COOPERATING ORGANISATIONS PATROCINADORES SPONSORS Gobierno de Aragón Caja Inmaculada Ayuntamiento de Huesca Diputación Provincial de Huesca Programa MEDIA PLUS de la Unión Europea Ministerio de Cultura – ICAA INSTITUTO DE ESTUDIOS ALTOARAGONESES Fundación Anselmo Pié Sopena Diputación de Huesca RENFE Iberia ENTIDADES DE COOPERACIÓN COOPERATING ORGANISATIONS Agencia Española de Cooperación Internacional. Ministerio de Asuntos Exteriores Instituto de Estudios Altoaragoneses Heraldo de Aragón Diario del Altoaragón New York Film Academy EL FESTIVAL INTERNACIONAL DE CINE DE HUESCA FORMA PARTE DE: COORDINADORA EUROPEA HUESCA INTERNATIONAL FILM FESTIVAL IS A MEMBER OF: DE FESTIVALES DE CINE 4 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 FESTIVAL INTERNACIONAL DE CINE DE HUESCA 2006 HUESCA INTERNATIONAL FILM FESTIVAL 2006 5 ENTIDADES COLABORADORAS DEPENDENCIAS SITES COLLABORATING ORGANISATIONS Academy of Motion Pictures Art and Sciences Alameda Films Altavista Films Asociación OFICINA PERMANENTE DEL FESTIVAL, SECRETARÍA Y DIRECCIÓN de Vecinos del barrio de San José Auto Cuatro, S. A. Ayuntamiento de Zaragoza PERMANENT OFFICE, SECRETARIAT AND ADDRESS Boutique Micaela Centro de Arte y Naturaleza (CDAN) Centro Cultural El Matadero Cineteca Nacional de México Cobega, S. A. Coca-Cola Elías Querejeta PC Escuela de Festival de Cine de Huesca. Arte de Huesca Escuela Internacional de Cine y Televisión de San Antonio de los Baños C/ del Parque, 1, 2o piso (Círculo Oscense).
    [Show full text]
  • Free Newspapers Caught up in the Crisis: Two Formats, One Uncertain Fate”
    Revista Latina de Comunicación Social # 069 – Pages 418 to 461 Funded Research | DOI: 10.4185/RLCS-2014-1019en | ISSN 1138-5820 | Year 2014 How to cite this article in bibliograhies / References X López García, A Bellón Rodríguez, R de Mateo Pérez (2014): “Free newspapers caught up in the crisis: two formats, one uncertain fate”. Revista Latina de Comunicación Social, 69, pp. 435 to 461. http://www.revistalatinacs.org/069/paper/1019_USC/22xen.html DOI: 10.4185/RLCS-2014-1019en Free newspapers caught up in the crisis: two formats, one uncertain fate X López García [CV] [ ORCID] [ GS] Universidad de Santiago de Compostela (USC), Spain - [email protected] A Bellón Rodríguez [CV] [ ORCID] [ GS] Consejo Superior de Investigaciones Científicas (CSIC), Spain - [email protected] R de Mateo Pérez [CV] [ ORCID] [ GS] Universidad Autónoma de Barcelona (UAB), Spain - [email protected] Abstract Introduction. Free print newspapers, one of the main innovations in the communications market, are a paradigm of the crisis and the debate over the print and digital platforms. Method. The article explores, through content analysis, interviews and panels of experts, seven print and online free newspapers that were launched in Galicia in the last five years. Results. The landscape of free newspapers has changed markedly and their promoters have followed four different strategies: maintenance of print and digital formats; closure of the newspapers; integration of paid-for modalities; and survival in the digital platform. In addition, there are small local newspaper initiatives such as Lindeiros. Conclusions. It seems that the free press is still unsure about what is its preferred dissemination platform and that the proximity markets seem to be suitable spaces for this type of press.
    [Show full text]
  • Registration Document
    Schibsted ASA – 12.08 2014 Registration Document Registration Document Schibsted ASA Oslo, 12.08 2014 Prepared according to Commission Regulation (EC) No 809/2004 - Annex IX Schibsted ASA – 12.08 2014 Registration Document Important notice The Arranger and/or affiliated companies and/or officers, directors and employees may be a market maker or hold a position in any instrument or related instrument discussed in this Registration Document, and may perform or seek to perform financial advisory or banking services related to such instruments. The Arrangers corporate finance department may act as manager or co-manager for this Issuer in private and/or public placement and/or resale not publicly available or commonly known. Copies of this Registration Document are not being mailed or otherwise distributed or sent in or into or made available in the United States other than on the Issuer’s web page. Persons receiving this document (including custodians, nominees and trustees) must not distribute or send such documents or any related documents in or into the United States. Other than in compliance with applicable United States securities laws, no solicitations are being made or will be made, directly or indirectly, in the United States. Securities will not be registered under the United States Securities Act of 1933 and may not be offered or sold in the United States absent registration or an applicable exemption from registration requirements. The distribution of the Registration Document may be limited by law also in other jurisdictions, for example in Canada, Japan and in the United Kingdom. The Prospectus has been reviewed and approved by the Norwegian FSA in accordance with sections 7-7 and 7-8, cf.
    [Show full text]
  • Free Daily Readership
    Worldwide Readership Research Symposium 2007 Session 2 paper 9 FREE NEWSPAPER READERSHIP Piet Bakker, Amsterdam School of Communications Research, University of Amsterdam Abstract Twelve years after the introduction of the first free commuter newspaper in Sweden, circulation of free newspapers has risen to 40 million daily copies. Readership of free newspapers is more complex and in many cases harder to pin down. In general it is different from readership of paid newspapers. The first difference concerns the demographics of the readers: free papers target the affluent 18 to 34 group and in many cases try to achieve that by choosing particular ways of distribution, and also by concentrating on specific content. Age, indeed seems to be significantly lower in most cases although the average readers does not seem to be particularly wealthy. The second distinct feature is the amount of unique readers of free newspaper. Results on the few available cases indicate that around half of the readers only read papers although also lower levels have been reported. The third issue concerns readers per copy. The traditional free commuter daily can reach to a rather high number of readers per copy; but with many markets reaching free newspaper saturation this number seems to be dropping, whereas free door-to-door distributed free papers and afternoon papers have a lower readership per copy. In this paper we will present information on this three issues from a dozen markets, using audited readership data. Free Newspaper Readership The World Association of Newspapers (2007) reported on the year 2006 that daily circulation of newspapers increased with 4.61 percent (25 million copies) compared to 2005.
    [Show full text]
  • Study of Regulatory Communication and Risk Awareness Following the Article 31 Referral of Combined Hormonal Contraceptives in Relation to Thromboembolism
    Study of regulatory communication and risk awareness following the Article 31 referral of Combined Hormonal Contraceptives in relation to thromboembolism Final report December 2017 EMA/2015/24/PH 1 PASS information Title Study of regulatory communication and risk awareness following the Article 31 referral of Combined Hormonal Contraceptives in relation to thromboembolism Version identifier of the final 1 study report Date of last version of the final Not applicable study report EU PAS register number EUPAS21356 Active substance Not applicable Medicinal product Not applicable Product reference Not applicable Procedure number Not applicable Marketing authorisation Not applicable holder(s) Joint PASS No Research question and Do women and prescribers consider the risks of venous objectives thromboembolism when making decisions about the use of combined hormonal contraceptives and what sources of information inform their assessments? Objectives 1. To consider the extent to which women and health professionals are aware of the risks of venous thromboembolism (VTE) in users of combined hormonal contraceptives (CHC) 2. To document awareness, knowledge, attitudes and practices related to recommendations from regulatory authorities 3. To understand how advice from regulators concerning CHC, and specifically how the risks of VTE are perceived? Is advice clearly communicated? Is it seen as helpful? How could it be improved? 4. To document ways in which communications aimed at women and health care professionals from regulatory authorities could be improved in the future 2 Country(-ies) of study UK, Denmark, Germany, Slovakia, Netherlands, Spain Author Dr Fiona Stevenson ([email protected]) Marketing authorisation holder(s) Marketing authorisation holder(s) Not applicable MAH contact person Not applicable 3 Table of contents 1.
    [Show full text]
  • Multilingual
    CITATION ADAPT 1 APP Google Home Google Home Download and run the Google Home app on a phone or tablet. 2 PRODUCT TOUR HDMI 2 HDMI TV OPTICAL HDMI 3 VOL AUX HDMI 4 HDMI 1 Remote control x1 Citation Adapt x1 Regional power cord x1 (varies depending on country) Front Back Optical Audio IN Reset >5s RESET HDMI Power 3 CONTROL/INFORMATION ON TOUCH SCREEN Wi-Fi status Bluetooth Touch screen Settings 4 GET STARTED Plug in the power Download and run the Google Home app on a phone or tablet. Follow the instructions on the touch screen and Google Home app to finish the setup *Enable Bluetooth® (iPhone / iPad) 5 CHROMECAST PLAY MUSIC PROCEDURE Step 1: Open Chromecast supported app Step 2: Play Music Step 3: Tap the cast icon and select “Citation Adapt” e.g. Spotify Pandora TuneIn Deezer Google Play Music * Device can support multi-room control provided by Chromecast built-in, more details you can refer to Google Home app. 6 WI-FI >5m 7 OWNER’S MANUAL Download the full owner's manual from harmankardon.com Téléchargez le mode d'emploi complet sur harmankardon.com Descárgate el Manual de usuario completo en: harmankardon.com Laden Sie die vollständige Bedienungsanleitung von harmankardon.com Scarica il manuale dell’utente integrale da harmankardon.com Download de complete gebruikershandleiding van harmankardon.com Last ned hele brukerhåndboken fra harmankardon.com Ladda ner hela bruksanvisningen från harmankardon.com Hent hele brugsanvisningen fra harmankardon.com Owner's Manual harmankardon.com 『harmankardon.com』(取扱説明書)(全文)を からダウンロードしてください 에서 사용자
    [Show full text]
  • ANALYSIS European Freebie Fever LAUNCHES 20 Minutos Expands Bridgehead for Schibsted So Such Thing As a Free Launch
    FDN NEWSLETTER NO. 10 – SEPTEMBER 2005 – WEBSITE: users.fmg.uva.nl/pbakker/freedailies Launches Plans Readership Publishers Research 15min, 5 min, City Austria, Ireland, The Netherlands, Quebecor, Basle, San Mateo County, AM, Moscow, 20 Switzerland, Spain, UK, Austria, Metro Italy / Spain / content analysis & Minutos/Minutes, Germany, London. Canada (p. 3) Netherlands (p. 3-4) events (p. 4) FTpm. (p. 1-2) (p. 2-3) ANALYSIS LAUNCHES European freebie fever 20 Minutos expands Europe experienced in the past few weeks the th biggest wave of launches, new titles, plans and 20 Minutes launched the 10 Spanish edition in Cordoba (circulation 20,000) on Sept. 8. Bilbao circulation increase since the beginning of free th th papers. Circulation is now 14.5 million (less than 11 followed on the 9 . The 12 edition was launched in million in 2004) while the number of titles has grown Valladolid on Sept. 12, also with a circulation 20,000. from 52 to 62 and the number of editions from 113 to A day later an edition in La Coruna & Vigo followed. 157. Before the end of 2005 a circulation of 16 to 20 Circulation of 20 Minutes in Spain rose with 140,000 million (depeding on German launches) can be to more than 1.1 million; 60% of the population is expected. reached. More launches are expected in 2005. (20minutos.es, aviladigital.com) Eastern Europe was Circulation of free papers Spain (* 1000) formerly an area 2000 2001 2002 2003 2004 2005 without free dailies 20 Minutos 240 500 500 550 650 1100 but recently new free Metro 414 393 590 700 851 daily papers were Qué! 979 introduced in Latvia others 50 102 168 391 472 678 (5Min in August) and Total 290 1016 1061 1531 1822 3608 Lithuania (15min in September, see picture).
    [Show full text]