Xilam Animation and Alibaba's Youku to Co-Produce New Animated
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Joint Action Against Online Video Piracy in China
November 13, 2013 Joint Action Against Online Video Piracy in China Lawsuits Seeking RMB300 Million in Damages Filed Against Baidu and QVOD on Claims of Spreading Pirated Videos and Engaging in Hotlinking BEIJING, Nov. 13, 2013 /PRNewswire/ -- Youku Tudou, Sohu Video, Tencent Video, LeTV, MPA, the Motion Picture Association of America (MPAA), CODA, Wanda Films, Enlight Media, Letv Films announce a joint declaration today in Beijing to fight online video infringement and piracy both on PC and mobile Internet in China. Meanwhile, the joint action announces legal action has been taken against Baidu and QVOD for compensation as high as RMB300 million. Representatives from more than a dozen Chinese and international film and television production companies attended the joint action announcement in Beijing. International attendees included the Motion Picture Association of America, Sony Pictures Entertainment, Warner Brothers, Disney and Paramount. Chinese attendees included the Capital Copyright Industry Alliance Capital Protection Division, the China Radio and Television Association of the Television Production Committee, and many Chinese production companies. "Since 2009, the video industry is facing a more severe anti-piracy situation," Sohu Group Chairman and CEO Charles Zhang said. "Especially when those big Internet companies with resource advantages participate in large-scale piracy. We cannot keep competing because where thieves and robbers are having their way, law-abiding companies cannot survive. We may even have to exit online video industry if such practices continue. Nobody will invest in content, and China's online video industry will face the sad situation as the music industry, which has already been destroyed by piracy, had faced before. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Eone Annual Report 2019
2019 Annual Report and Accounts Unlocking the power & value of creativity We are focused on building the leading talent-driven, platform- agnostic entertainment company in the world. Through our deep creative relationships we are able to produce the highest quality content for the world’s markets. We are powered by global reach, scale and local market knowledge to generate maximum value for this content. Strategic Report SR Governance G Financial Statements FS Unlocking the Unlocking the value of originality power & value p.10 of creativity Unlocking the power of creativity p.12 Strategic report Governance 02 At a glance 66 Corporate governance 04 Chairman’s statement 68 Board of Directors 06 Chief Executive Officer’s review 70 Corporate governance report 10 Unlocking the power 78 Audit Committee report & value of creativity Unlocking the 86 Nomination Committee report value of direction 20 Market Review 90 Directors’ Remuneration report p.14 22 Business Model 118 Directors’ report: 24 Strategy additional information 26 Key performance indicators Financial statements Business review 122 Independent auditor’s report 28 Family & Brands 127 Consolidated financial statements 36 Film, Television & Music 131 Notes to the consolidated financial statements Unlocking the 46 Finance review power of storytelling 51 Principal risks and uncertainties Visit our website: entertainmentone.com p.16 58 Corporate responsibility Unlocking the value of talent p.18 entertainmentone.com 1 AT A GLANCE Performance highlights Strong growth in underlying EBITDA -
Analysis and Discussion on the Network Self Made Drama Under the Network Platform
Analysis and Discussion on the Network Self Made Drama under the Network Platform Xiaoxia LI Zibo Vocational Institute Abstract: In recent years, with the continuous deepening of the integration of Internet and film and television creation, China has entered the online drama world spawned by the “Internet”. In the development trend of online drama, self-made content has become the foundation of every major platform. In 2020, the network self-made drama will be stable and new. Under the benign situation of stable development, it will move towards higher quality and broader stage. Keywords: Network; Platform; Homemade drama; Film and television DOI: 10.47297/wspciWSP2516-252708.20200409 1. The Rise of Self-made Drama in the Network Video Platform (1) The characteristics of network communication and the platform advantage of mastering the front market data, the network self-made drama has high interaction and market sensitivity. (2) Behind the rise of the network self-made drama is the network video platform that is eager for more control. n the increasingly fierce and cruel competition of “film and television winter”, Ithe network self-made drama makes these online video platforms escape the copyright purchase cost of the sky price, and change from passive content competition to active participation in content production, and become the core of platform differentiation competition. At the same time, this benign change also contains the vision of the film and television industry to reshape the content ecology. About the author: Xiaoxia LI (1978-02), female, from Zibo City, Shandong Province, master, lecturer, engaged in computer applications, network big data and artificial intelli- gence. -
Rapport Financier Annuel
ANIMATION 2014 Rapport Financier Annuel Xilam Animation - Société anonyme au capital de 446 500 € Siège social : 86/90, rue Notre-Dame de Nazareth 75003 PARIS RCS Paris 423 784 610 Sommaire Responsable de l’information .......................................................................................................................................... 3 Rapport de gestion ............................................................................................................................................................ 5 Responsabilité sociétale des entreprises ....................................................................................................................... 31 Gouvernement d’entreprise ........................................................................................................................................... 45 Comptes consolidés ......................................................................................................................................................... 68 Comptes sociaux ........................................................................................................................................................... 113 Le sommaire détaillé des chapitres figure au début de chaque chapitre. Xilam Animation – Rapport financier annuel 2014 2 Responsable de l’information Xilam Animation – Rapport financier annuel 2014 3 Responsable de l’information Responsable du document Monsieur Marc du Pontavice, Président du Conseil d’Administration de Xilam Animation -
From Western TV Sets to Chinese Online Streaming Services: English-Language TV Series in Mainland China
. Volume 16, Issue 2 November 2019 From Western TV sets to Chinese online streaming services: English-language TV series in mainland China Xiaoran Zhang, University of Nottingham, UK Abstract: In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on licensed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English-language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of audience consumption in China have informed the localization of this specific transnational TV content. Keywords: Online streaming, streaming consumption, television distribution, transnational TV, Tencent Video, HBO, Game of Thrones Introduction As one of HBO’s most successful high-end shows, Game of Thrones (2011-) has earned a worldwide reputation that includes the fandom of Chinese viewers. -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
Annexe 2 – Le Marché De L'animation En 2018
les études du CNC Le marché juin 2019 de l’animation en 2018 Cette étude a été réalisée conjointement par la Direction de l’audiovisuel et de la création numérique et la Direction des études, des statistiques et de la prospective. Les données sur l’emploi sont reprises de l’étude publiée par Audiens sur la production de films d’animation et d’effets visuels. Centre national du cinéma et de l’image animée 12, rue de Lübeck 75784 Paris cedex 16 Tél : 01.44.34.38.26 Fax : 01.44.34.34.55 www.cnc.fr Nicolas Besson, Sophie Cheynet, Benoît Danard, Sylvain Dandine, Sophie Jardillier, Laurence Peyré, Ivan Piccon, Cindy Pierron, Danielle Sartori, Jérôme Tyl, Linda Zidane. 2 Le marché de l’animation en 2018 Sommaire Synthèse .............................................................................................................................. 5 1. Cinéma ............................................................................................................................. 8 1.1. La production française de longs métrages d’animation ............................................. 9 1.2. La distribution............................................................................................................17 1.3. Les résultats des films d’animation en salles .............................................................25 1.4. Le public des films d’animation en salles ...................................................................30 2. Audiovisuel ....................................................................................................................34 -
How to Boost the Impact of Scientific Conferences
ABSTRACT We can maximize the impact of scientific conferences by uploading all conference presentations, posters, and abstracts to highly-trafficked public repositories for each content type. Talks can be hosted on sites like YouTube and Youku, posters can be published on Figshare, and papers/abstracts can become Open Access PrePrints. How to boost the impact of scientific conferences. Mike Morrison Kelsey Merlo Zach Woessner Michigan State University University of South Florida Michigan State University [email protected] [email protected] [email protected] (corresponding author) Thanks to the heroic efforts of conference administrators across science, most academic conferences scheduled for 2020 have been at least partially translated into a virtual format. Now, it is time to figure out what role online content should have in the future, and how to maximize its engagement and impact. First, to get in the right mindset, it will help to stop thinking of annual scientific conferences as only updating a subset of attending scientists on what is happening in a field, and start thinking of conferences as being able to update the entire world on what is happening in a field of study — especially all relevant scientists, whether they pay dues for that conference or not. Figure 1 places the “classic 3” scientific conference content types — Presentations, Posters, and Conference abstracts — on a continuum ranging from ‘easy to produce’ to ‘hard to produce’, and from ‘small impact’ (on just a few people) to ‘big impact’ (reaching tens or hundreds of thousands of people). Figure 1. The effort-impact continuum. Most traditional scientific conference content takes a lot of effort to create, and has a relatively small reach and impact (relative to the total population of people potentially interested in it). -
System: Pipeline Performance Enhancement
Cross Cultural Analysis System Improvements Guandong Liu Yiyang Zeng Columbia University Columbia University [email protected] [email protected] 1 Introduction Cross-cultural analysis investigates the new task of determining which textual tags are preferred by different affinity groups for news and related videos. We use this knowledge to assign new group-specific tags to other videos of the same event that have arisen elsewhere. We map visual and multilingual textual features into a joint latent space using reliable visual cues, and determine tag relationships through deep canonical correlation analysis (DCCA). We are interested in any international events such as epidemics and transportation disasters and detect country-specific tags from different countries’ news coverage [1]. Our current pipeline is able to collect data, preprocess data, and analyze data. This semester, we investigated and improved system performances in different aspects to make it more reliable and flexible. This report consists of two parts: the first part gives a thorough overview to the whole pipeline and the second part talks about several bug fixes and performance improvements of the current system. 2 Pipeline User Manual This section gives a thorough overview to the whole pipeline and goes through each step with AlphaGo in Chinese and English task as an example. 2.1 Get Video Metadata The pipeline starts from getting video metadata from various sources. In our experiments, we got video metadata about AlphaGo from Chinese sources (Tencent, Iqiyi, Youku, BiliBili) and English source (YouTube). Note that to get video metadata from YouTube, one must first enable YouTube Data API and get own API credentials (key.txt is the API credentials). -
Claire Espagno
Claire Espagno Scénariste [email protected] Directrice d’écriture Linked In : claire-espagno Productrice ÉCRITURE_____________________________________________________________________ 2020 Scénariste, Watch Next Media – Paris "Oscar & Malika" (Saison 2) Série d’animation 2D – 2 épisodes "Le refuge d’Audrey" Série d'animation 2D (52 x 13 mn) (en développement) 2019 - 2020 Scénariste, Reaz – Paris "Patamuse" (Saison 2) Série d’animation volume et 2D (30 x 3 mn) – 30 épisodes 2019 Directrice d'écriture & scénariste, Mondo TV – Paris "Disco Dragon" Série d'animation 2D (52 x 13 mn) – 4 épisodes 2018 Auteur du développement, Gaumont Animation – Paris "La famille royale" Série d'animation (52 x 13 mn) Auteur du développement, Mondo TV – Paris "Suzon" Série d'animation 2D (78 x 7 mn) Auteur du développement, Songes – Toulouse "Quand je serai grande" Série d’animation (52 x 13 mn) Auteur du développement, Futurikon – Paris "La série qui t’explique tout sur les parents" Série d'animation 2D (78 x 7 mn) 2017 Directrice d'écriture & scénariste, Futurikon – Paris "César & Capucine" (saison 2) Série d'animation 2D (52 x 7 mn) – 5 épisodes Scénariste, Superprod – Paris "Lassie" (Saison 2) Série d’animation 2D (26 x 22 mn) – 2 épisodes (co-écriture) 2015 - 2016 Directrice d'écriture & scénariste, Superprod – Paris "La petite école d’Hélène" Série d'animation 3D (52 x 13 mn) – 5 épisodes 2015 Directrice d'écriture & scénariste, Futurikon – Paris "Les p'tits diables" (saison 3) Série d'animation 2D (52 x 13 mn) – 4 épisodes 2014 - 2015 -
Flywheel Models + Iqiyi (NASDAQ: IQ) an Investment Case Study by Hayden Capital Valuex Vail | June 27-29, 2018
Flywheel Models + iQiyi (NASDAQ: IQ) An Investment Case Study By Hayden Capital ValueX Vail | June 27-29, 2018 Hayden Capital 79 Madison Ave, 3rd Floor New York, NY. 10016 Office: (646) 883-8805 Mobile: (513) 304-3313 Email: [email protected] Disclaimer These materials shall not constitute an offer to sell or the solicitation of an offer to buy any interests in any fund or account managed by Hayden Capital LLC (“Hayden Capital”) or any of its affiliates. Such an offer to sell or solicitation of an offer to buy will only be made pursuant to definitive subscription documents between a fund and an investor. The fees and expenses charged in connection with the investment may be higher than the fees and expenses of other investment alternatives and may offset profits. No assurance can be given that the investment objective will be achieved or that an investor will receive a return of all or part of his or her investment. Investment results may vary substantially over any given time period. Reference and comparisons are made to the performance of other indices (together the “Comparative Indexes”) for informational purposes only. Hayden Capital’s investment program does not mirror any of the Comparative Indexes and the volatility of Hayden Capital’s investment strategy may be materially different than that of the Comparative Indexes. The securities or other instruments included in the Comparative Indexes are not necessarily included in Hayden Capital’s investment program and criteria for inclusion in the Comparative Indexes are different than those for investment by Hayden Capital. The performance of the Comparative Indexes was obtained from published sources believed to be reliable, but which are not warranted as to accuracy or completeness.