2007 Annual Report 2007 ANNUAL REPORT
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Fédérer Tous Les Publics Autour D'une Offre Complète Et Diversifiée
Avenant au contrat d’objectifs et de moyens 2013-2015 RAPPORT D’EXECUTION EXERCICE 2015 PROJET Conseil d’administration du 13 juillet 2016 SOMMAIRE Chapitre 1 – Fédérer tous les publics autour d’une offre complète et diversifiée ..................... 4 Objectif 1.1. : Présenter une offre de chaînes nationales aux identités fortes ...................................... 4 1.1.1. France 2 ....................................................................................................................................... 4 1.1.2. France 3 ....................................................................................................................................... 6 1.1.3. France 4 ....................................................................................................................................... 8 1.1.4. France 5 ..................................................................................................................................... 11 1.1.5. France Ô ..................................................................................................................................... 12 Objectif 1.2. : France Télévisions au plus proche des citoyens en régions métropolitaines et ultramarines ................................................................................................................................... 15 1.2.1. Les Outre-mer 1ère...................................................................................................................... 15 1.2.2. Conforter la visibilité -
5. the Death of Henri—La Gilde
John Charlot: Chapter 5: Henri—La Gilde draft 7/10/17 !1 5. THE DEATH OF HENRI—LA GILDE 5.1. THE ILLNESS AND DEATH OF HENRI CHARLOT July 1914 marks the first major division in Charlot’s life with the breakdown and subsequent lingering illness and death of his father Henri. Charlot’s life, art, and thinking were transformed. Already unusually earnest for a person of his age, Charlot intensified his pursuits in art, literature, and scholarship. Charlot recognized this clearly. He divided his first two collections of poems between those up to July and those “à partir d’Août 1914 (retour d’Allemagne)” ‘from August 1914 (return from Germany).’ The poems of the first collection I have described in chapter 3 “Childhood and Adolescence”; the next poems have a new seriousness and are more directly personal expressions, becoming a prime biographical source. A similar change can be seen in much of Charlot’s artwork. Up to July, the drawings and watercolors continue the earlier trends. For instance, he paints Forest Scene at his uncle Caplain’s summer place at Chaumontel. His happy mood is expressed in two pencil and watercolor self-portraits and one portrait of an adolescent of the same age, probably a school friend, that he made certainly before July.1 The three are done in his mature pencil and wash style of the time, and all are sunny. The friend is portrayed affectionately as lively and at ease with his tousled hair and open shirt. The first self-portrait is a studious depiction. Charlot is wearing a brown jacket and gray shirt. -
EUI RSCAS Working Paper 2021Safety of Journalists in Europe
RSC 2021/43 Robert Schuman Centre for Advanced Studies Centre for Media Pluralism and Media Freedom Safety of journalists in Europe: Threats and best practices to tackle them Edited by Mária Žuffová and Roberta Carlini European University Institute Robert Schuman Centre for Advanced Studies Centre for Media Pluralism and Media Freedom Safety of journalists in Europe: Threats and best practices to tackle them Edited by Mária Žuffová and Roberta Carlini EUI Working Paper RSC 2021/43 Terms of access and reuse for this work are governed by the Creative Commons Attribution 4.0 (CC- BY 4.0) International license. If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper series and number, the year and the publisher. ISSN 1028-3625 © Edited by Mária Žuffová and Roberta Carlini, 2021 This work is licensed under a Creative Commons Attribution 4.0 (CC-BY 4.0) International license. https://creativecommons.org/licenses/by/4.0/ Published in Μarch 2021 by the European University Institute. Badia Fiesolana, via dei Roccettini 9 I – 50014 San Domenico di Fiesole (FI) Italy Views expressed in this publication reflect the opinion of individual author(s) and not those of the European University Institute. This publication is available in Open Access in Cadmus, the EUI Research Repository: https://cadmus.eui.eu Robert Schuman Centre for Advanced Studies The Robert Schuman Centre for Advanced Studies, created in 1992 and currently directed by Professor Brigid Laffan, aims to develop inter-disciplinary and comparative research on the major issues facing the process of European integration, European societies and Europe’s place in 21st century global politics. -
Canadian Claimants Group (CCG)
WRITTEN DIRECT TESTIMONY OF JANICE DE FREITAS (CBC - RIGHTS ADMINISTRATION) 2004—2005 Cable Royalty Distribution Proceeding Docket No. 2007-03 CRB CD 2004-2005 1. Introduction I am Manager of Rights Administration for the Canadian Broadcasting Corporation/Radio-Canada (CBC/Radio-Canada) at the Head Office in Ottawa. I have worked for the CBC since 1980. For the last 15 years, I have served as Chairman of the Canadian Claimants Group (CCG). Before assuming my current position, I spent nine years in CBC’s television program distribution department eventually managing the Educational Sales unit. Those responsibilities called for me to be familiar with the English television network’s programming, and rights administration. CBC/Radio-Canada is Canada’s national public broadcaster, and one of its largest and most important cultural institutions. It was created by an Act of Parliament in 1936, beginning with Radio. Bilingual television services were launched in 1952. CBC/Radio-Canada is licensed and regulated by the Canadian Radio-television and Telecommunications Commission (CRTC)1. CBC/Radio-Canada employs approximately 9,930 Canadians in 27 regional offices across the country. CBC programming is provided on multiple platforms: television (both traditional over-the-air and cable networks), radio, the Internet, satellite radio, digital audio and a recording label. Through this array of activities, CBC/Radio-Canada delivers content in English, French, and eight aboriginal languages. In addition to this, programming is available in seven other languages including Spanish, Russian and Mandarin on both Radio Canada International, and Web-based www.rciviva.ca, a radio service for recent and aspiring immigrants to Canada. -
Disrupting Whiteness in Contemporary France
Disrupting Whiteness in Contemporary France A Radical, Multifaceted and Intersectional Approach to (De)Constructing French Identity Lise Lalonde A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Maya Smith, Chair Richard Watts Nancy Bou-Ayash Program Authorized to Offer Degree: The French & Italian Studies Department ©Copyright 2018 Lise Lalonde University of Washington Abstract Disrupting Whiteness in Contemporary France A Radical, Multifaceted and Intersectional Approach to (De)Constructing French Identity Lise Lalonde Chair of the Supervisory Committee: Maya Smith French & Italian Studies Department This dissertation aims at making visible the pervasiveness of white supremacy in contemporary France. In order to do so, I deconstruct French national identity by critically engaging with the French Republic’s universalist and colorblind stance. In the first section, I take stock of France’s knowledge production on questions of identity, identifying problems in the conflation of race with immigration studies and noticing the relative absence of racial studies. In the second section, I consider the ways in which the French education system is an ideological apparatus of forceful inclusion by analyzing issues of knowledge production and destruction within the French education system. In the third section, I discuss the racialization of religion in France and historicize the concept of laïcité, France's word for its brand of secularism, in order to show how it has become a technology to oppress Muslims and perceived Muslims in France. In the fourth section, I am focused on issues of representation, recognition and state antiracism in France, questioning and historicizing the French colorblind antiracist institutions through an analysis of two critically acclaimed films, Intouchables and Bande de filles. -
Production Audiovisuelle : Données Quantitatives Au Titre Des Obligations
© Conseil supérieur de l’audiovisuel Production audiovisuelle – Données quantitatives Exercice 2018 Sommaire Contribution des services de télévision au développement de la production d’œuvres audiovisuelles 5 Tableau Contribution des services de télévision au développement de la production audiovisuelle Annexe Liste des œuvres audiovisuelles déclarées par les chaînes de TNT gratuite et de cinéma 14 3 Production audiovisuelle – Données quantitatives Exercice 2018 Contribution des services de télévision au développement de la production d’œuvres audiovisuelles Au titre de l’exercice 2018, 24 déclarations d’éditeurs ou groupements d’éditeurs nationaux assujettis à des obligations de contribution à la production audiovisuelle ont été examinées : - Neuf déclarations de groupes mettant en commun leurs engagements : o France Télévisions ; o TF1 (TF1, HD1, NT1, TMC, Histoire, TV Breizh et Ushuaïa TV) ; ère o M6 (M6, 6 Ter, W9, Paris 1 , Téva, M6 Music) ; o Canal+ (Canal+, Comédie, Piwi, Planète+, Planète+ CI, Planète+ AE, Polar+, Seasons, Télétoon) ; o NRJ (NRJ 12 et Chérie 25) ; o Disney (Disney Channel, Disney Junior et Disney XD) ; o AB (AB1, AB Moteurs, Animaux, Chasse et Pêche, Mangas, Sciences et Vie TV, Toute l'Histoire, Trek) ; o Lagardère (Canal J, Elle Girl, Gulli, MCM, MCM Top, Mezzo, RFM TV, Tiji, La Chaîne du Père Noël, Virgin TV) ; o Game One - J One - une déclaration du groupement de services OCS ; - quatorze déclarations d’éditeurs soumis à titre individuel : o 4 chaînes hertziennes gratuites : C8, CStar, RMC Découverte, RMC Story ; o et 10 chaînes payantes : 13ème Rue, Melody, Museum TV, NRJ Hits, Série Club, Trace Africa, Trace Tropical, Trace Urban, TV5 Monde et Voyage. -
Testimony of Lucy Medeiros
TESTIMONY OF ALISON SMITH (Canadian Broadcasting Corporation) Introduction My name is Alison Smith. I am currently a Washington Television News Correspondent for the Canadian Broadcasting Corporation. I have worked for CBC News for more than 30 years in a variety of positions, but primarily as a news anchor and reporter. I am now based in Washington DC covering US news of interest to Canadians. That includes US politics, foreign affairs, the economy and news features that reflect American life. The CBC The CBC’s mandate is to provide programming that is predominantly and distinctively Canadian and to actively contribute to the flow and exchange of cultural expression. CBC News The CBC News Service was established almost 70 years ago in 1941. As an important component of CBC, the mandate for CBC News mirrors that of the corporation. With its team of experienced and highly professional journalists it is seen as one of the greatest strengths of the CBC. It is Canada’s largest news service with more than 800 journalists employed at home and around the world. It currently has more bureaus across Canada than any other network and 14 outside of the country. There are three bureaus in the US – Washington, New York and Los Angeles. Other locations include London, Paris, Jerusalem, Mexico City, Moscow, Beijing, Shanghai, Nairobi, Bangkok and Kandahar. From the inception of the news service, CBC news and current affairs journalists have won international recognition for their work. A list of international awards covering the time period at issue here is attached to this testimony (Exhibit CDN-2-A). -
2021 Fischoff Program.Pdf
THE 48TH ANNUAL FISCHOFF NATIONAL CHAMBER MUSIC COMPETITION Friday, May 14 – Sunday, May 16, 2021 TheFischoff fischoffchambermusic Fischoff FischoffNCMC Fischoff.org THE 48TH ANNUAL WELCOME TO THE FISCHOFF Elected Officials Letters .............................. 2–3 Fischoff President Letter & Board of Directors ............. 4 Letter from the Artistic Director. .5 Letter from the University President. 6 Friday, May 14 – Sunday, May 16, 2021 THE FISCHOFF NATIONAL CHAMBER MUSIC ASSOCIATION The Fischoff Team ...................................8–9 National Advisory Council ..............................10 2021 Competition Fast Facts ............................11 History of The Fischoff .................................12 History of The Competition .............................13 Double Gold Tours .................................14–15 Peer Ambassadors for Chamber Music (PACMan) ..........17 Soirées ..............................................17 Fischoff Chamber Music Academy .......................18 THE 48TH ANNUAL FISCHOFF COMPETITION Screening Committees .................................21 Junior Division Jurors ..............................22–23 Senior Division Jurors .............................24–25 A NOTE OF THANKS Medal and Prize Sponsors ..........................26–27 The Fischoff National Chamber Music Association Emilia Romagna Festival ..............................28 Board of Directors and Staff gratefully acknowledge Competition Schedule of Events .................... 30–31 the contributions of: Junior String Division -
Retour En Fanfare Pour Le Foot
JACQUES LEGROS Le bon soldat de TF1. P. 4 TEDDY RINER Le documentaire événement de France 3. P. 10 Kylian Mbappé (Paris Saint-Germain) Retour en fanfare pour le foot 6 74 Après plus de quatre mois d’arrêt, le football français °1 -n reprend avec les finales de la Coupe de France ine et de la Coupe de la Ligue sur France 2. P. 6 gaz Ma TV PROGRAMMES DU DIMANCHE 19 AU SAMEDI 25 JUILLET 2020 DU DIMANCHE 19 AU SAMEDI 25 JUILLET 2020 Motive, un Columbo TÉLÉVISION 12 au féminin bien ficelé L’HOMME DE LA SEMAINE 4 Jacques Legros, NOTRE SÉLECTION D’ÉTÉ plus qu’un joker sur TF1 14 À fond , sur M6. EN COUVERTURE SOMMAIRE Après quatre mois d’arrêt, le PROGRAMMES STHANLEE MIRADOR/SIPA USA/SIPA 6 foot revient avec les finales VOTRE GRILLE de la Coupe de France 16 DE LA SEMAINE Jennifer Aniston et de la Coupe de la Ligue ACTU ASTRO&JEUX rejoint ses « Friends » Stéphane Bern raconte ASTRO 8 le château de Windsor 59 Les Victoires de la musique MOTS CROISÉS e dimanche, TF1 diffuse la comédie irrévéren- fêtent leurs 35 ans 60 SOLUTION DES JEUX cieuse Les Miller, un road-movie qui tourne au SUDOKU chaos, dont Jennifer Aniston est l’héroïne. France 3 plonge dans 61 C 10 MOTS FLÉCHÉS Plus de quinze ans après la fin de Friends, la célèbre l’intimité de Teddy Riner 62 comédienne et tout le reste du casting se retrouveront en CRÉDITS : FRÉDÉRIC CHAMBERT / PANORAMIC / BESTIMAGE août pour tourner un épisode spécial de la sitcom culte (COUVERTURE A). -
Quatrièmes Rencontres Professionnelles Des Producteurs Créateurs De Programmes Audiovisuels
Quatrièmes Rencontres Professionnelles des Producteurs Créateurs de Programmes Audiovisuels Mardi 10 mai 2016 #Spect2016 Le mot du SPECT Le SPECT se réjouit d’organiser, pour la quatrième année consécutive, les Rencontres Professionnelles des Producteurs Créateurs de programmes audiovisuels avec le soutien de l’INA, notre fidèle partenaire, de la SACEM qui nous accueille aujourd’hui dans sa célèbre et belle maison, d’Audiens, de Neuflize OBC et d’Ecran Total. Le SPECT tient à remercier les participants de leur fidélité et de l’intérêt qu’ils témoignent ainsi à cette rencontre annuelle, désormais installée et reconnue. Il est particulièrement sensible à la présence des Pouvoirs Publics et notamment des parlementaires qui participent en grand nombre à nos échanges aujourd’hui. La forte implication au sein des hémicycles parlementaires d’experts de l’audiovisuel est indispensable à la vie, à l’évolution et au fonctionnement harmonieux de notre secteur. Les derniers soubresauts de la loi Création nous l’ont encore prouvé. Il importe en effet que la représentation nationale, fréquemment et logiquement en contact avec les chaînes de télévision, connaisse mieux le monde des producteurs audiovisuels indépendants. Elle pourra ainsi mieux mesurer leur poids économique et leur responsabilité sociale, et prendre davantage conscience de leur rôle culturel majeur. Ils constituent le creuset de la créativité audiovisuelle de notre pays et ils en sont aussi les ambassadeurs auprès de multiples autres nations du monde. Pour ne parler un instant que de notre organisation, les 43 membres du SPECT représentent environ un milliard d’euros de chiffre d’affaires cumulé et forment le premier employeur du secteur audiovisuel avec quelque 50 000 collaborateurs en emploi direct. -
LITERACY in BELGIUM (French Community) COUNTRY REPORT CHILDREN and ADOLESCENTS
LITERACY IN BELGIUM (French Community) COUNTRY REPORT CHILDREN AND ADOLESCENTS March 2016 This project has been funded with support from the European Commission. This publication reflects the views of its authors only, and the Commission cannot be held responsible for any use which may be made of the information contained herein. This document has been published by the European Literacy Policy Network (ELINET). The report was completed in 2016. The contents of this publication may be reproduced in part, except for commercial purposes, provided the extract is preceded by a reference to “Elinet”, followed by the date of publication of the document. Main authors (in alphabetical order): Christine Garbe , Annette Lafontaine, Dominique Lafontaine, Patricia Schillings, Gerry Shiel, Renate Valtin Contributing authors (in alphabetical order): Ana Arqueiro, Valeria Balbinot, Ariane Baye, Juliana Cunha, Maria Lourdes Trindade Dionísio, Claudia Fischer, Stéphanie Géron, Eithne Kennedy, Maija Koikkalainen, Maria Kovacs, Gudmundur Kristmundsson, Gina Lemos, Heikki Lyytinen, Georgius Manolitsis, Carmen González Martí, Fabio Nascimbeni, Franziska Pitschke, Helin Puksand, Sari Sulkunen, Eufimia Tafa, Giorgio Tamburlini, Anne Uusen, Ariana-Stanca Văcăreţu, Corina Volcinschi, Christine Wagner, Esther Wiesner Coordinator of the ELINET-Project: University of Cologne Prof. Dr. Christine Garbe Institut für Deutsche Sprache und Literatur Richard-Strauss-Str. 2 50931 Köln – Cologne Germany [email protected] 2 TABLE OF CONTENTS 1 Introduction ........................................................................................................................................................................