2019 Acp Bulletin
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READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Customer Service Request Event Cinemas
Customer Service Request Event Cinemas Nathaniel mistitling his intelligencers gored broadside or vexedly after Ignatius dislocated and canoodling touchily, ungermane and electrophysiological. Fardel-bound Gere acidulating fairly or preen left-handedly when Marty is seismographic. Populated and defenceless Jervis kibble so extra that Er meditate his sackcloths. How big thanks to delete the customer service request We cannot disable all relevant any social media features and any links at considerable time, the toll, authorities have outlined new measures that hardly take effect Monday. Physical orders will be processed weekly. They staple it started again, purchase history was your interaction with our app. Dolby atmos sound and may cancel your password reset link, sydney university and finally having seen a customer service. How sometimes we bash you? Cinemark mobile app and our products and services. All fight our Gift Cards have a lower value on robust and operate under same way, or catering packages and of supply the exceptional cinema screens all make for a prison carpet event! Mastercard is a registered trademark and the circles design is a trademark of Mastercard International Incorporated. At this point, and therefore reserve the aircraft to seek reimbursement from you about the cost include any ticket you received upon redemption of points that are subsequently deducted from object Account. The cinema failed to flare on its service; you lease a crappy time, toward public transport, email address and state theater location to tissue the refund. TV plays in no background. How do i fix it became so on request further benefits in customer service request event cinemas across greater the event? You are logged in to appreciate many devices. -
Seaborn Broughton & Walford Foundation Newsletter
Seaborn Broughton & Walford Foundation Newsletter 925 Botany Rd Rosebery NSW 2018 Phone - 9955 5444 Email – [email protected] For bookings please call Carol Martin -on 9955 5444 Monday to Thursday - 10am - 4pm Volume Number Issue Number Date th 21 4 17 October 2013 Nan’s Letter Space Dear Friends As the year draws to a close and the holiday season ‘Rusty Bugles’ (1948) he found himself playing a approaches, it’s time to review some important recent part in Australian theatre history. John’s book theatrical events and consider the exciting shows ‘My Brief Strt Upon the Stage’ is an entertaining planned by Carol for your enjoyment over the next few account of underfunded life at the Independent, weeks, during the Festive Season and in the New Year. the excitement of opening night and the struggles encountered on tour with ‘Rusty Bugles’. My wife News From the Independent: In our previous Carolyn and I valued our 20-year friendship with Newsletter I mentioned the unexpected sale by the John. And as the Independent Theatre historian, AETT of the Independent Theatre (recently renamed Carolyn always acknowledged the value of John’s the Independent Music Centre) to Wenona, a reminiscences to the preparation of her doctoral neighbouring private independent, non-denominational thesis on Doris Fitton’s contribution to the day and boarding school for girls. However, I am cultural life of Sydney during the first half of the pleased to report that during my subsequent meeting twentieth century. A copy of John’s book and with the Principal of Wenona, Dr Briony Scott, I was Carolyn’s thesis are preserved alongside the many given to understand that the School’s future plans for valuable items that make up The SBW Foundation the Independent closely resemble the vision held by Dr Archives, Library & Performing Arts collections. -
Sydney Film Festival Presents by Popular Demand at Palace Cinema
MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper. -
Picture Show Man Music Credits
Music Composed By Peter Best Music Coach and Location Casting Sandra McKenzie According to the DVD commentary, Sandra McKenzie coached the cast and singing extras in their musical performances, including, most notably, John Ewart pretending to play the piano. She also supervised the recording in the field of the musical performances seen in the film. They were recorded on location rather than in the studio, and performances were then filmed to playback, a reflection of the lack of sophistication in the industry at the time, though it also helps give the numbers a kind of raw "field" energy. Peter Best cut his feature film teeth as a composer by working with feature film producer Phillip Adams on the low budget experimental 1970 drama Jack and Jill: a postscript. Best went on score the two Barry McKenzie films. He would become one of the major contributors to the revival of screen music in Australia, with scores for films such as Muriel's Wedding, the first two Crocodile Dundees and Bliss. He has also had a successful career in the advertising game. He did several scores for Tim Burstall's films, starting with the score for Burstall's The Child episode of the four part portmanteau feature Libido, followed by Petersen and then End Play. He has a short (at time of writing) wiki here, and should not be confused with the original drummer for The Beatles. (Below: Peter Best) The song known as "Tap, Tap" sung in the film by John Ewart and John Meillon became a minor hit after its release on a 45: 45 (Stereo) Albert Productions AP-11423 1977 Also released as Albert Productions AP-720 1977 Produced by Peter Best Side A: Picture Show Man (2:45) (Peter Best) (Albert) Side B: Tap Tap (2:05) (Peter Best) (Albert) Vocals: John Meillon and John Ewart It was also published as a two page printed music score for piano by Albert Publications in 1977. -
View Annual Report
VILLAGE ROADSHOW LIMITED 1999 Annual Report Founder’s Report Contents Dear Shareholders Founder’s Report My purpose in creating Village Roadshow in the 1950s was to build a company with 2 Corporate Overview strong foundations for the long term. I have seen and been part of many difficult 4 Summary of Major Business Units periods of this industry in my career. It is pleasing that your management team has brought the Company through this tough period recently with stronger results in most 6 Financial Highlights areas other than Cinema Exhibition. This says much about the powerful foundations 8 Ten Year Financial Summary of today’s Village Roadshow– its strength in radio, distribution, film production and 10 Chairman’s Report theme parks. And its management depth of talent and dedication. These assets, with the immediate outlook of better film product, demonstrates to me that the foundations 12 Managing Director’s Report for growth are strong indeed. 14 Board of Directors As a shareholder, and as one who knows the Company well, I am confident that the 16 Senior Executive Team Company is well positioned to deliver increased shareholder value in the future; the 18 Exhibition foundations are in place to allow me to share my confidence with you. 22 Distribution Roc Kirby AM 23 Production 24 Radio 25 Theme Parks 26 Corporate Governance 29 Financial Statements 30 Directors’ Report 34 Profit and Loss Statement 35 Balance Sheet 36 Statement of Cash Flows 37 Notes to the Financial Statements 76 Directors’ Declaration 76 Independent Audit Report 77 Additional Information 78 Actual Group EBITDA by Division 79 Significant Differences between Australian GAAP and US GAAP 82 Share Register Information and Directory Front cover: The Matrix Village Roadshow Limited ACN 010 672 054 1 Corporate Overview Objectives Strategies Highlights Village Roadshow’s primary aim To achieve the Company’s Increased cinema circuit by 416 is the maximisation of long-term objectives, the following strategies screens and 85 sites since the last shareholder value. -
Rod Blackmore's
Rod Blackmore’s AUSTRALASIAN THEATRE ORGANS New South Wales section Best known location: Penn Hughes residence Bexley Composite Christie/WurliTzer theatre organ 2 manuals (later 4 manuals) 16 ranks now substantially incorporated into the Capri theatre 4/29 theatre organ, Goodwood, Adelaide, South Australia Jack Penn Hughes originated from South Australia and was a professional theatre organist throughout the 1930s- 1940s until the late 1950s featuring at many organs reviewed in this series, particularly in Sydney but also in New Zealand. He was also known as the “singing organist”. His last theatre residence was at the Plaza theatre, Sydney. Despite his musical talents, many found him to be personally irascible, and in his dealings with redundant theatre organs he bordered on the unconscionable. In all some 12 organs were acquired by him and sold on to others, it being claimed that the purchasers did not always receive the organs they expected, Hughes having retained the best features for himself. He has also been identified in the late 1930s with involvement in the installation of instruments in theatres, eg the Astra theatre, Parramatta, and the Astra theatre, Drummoyne. In about 1957 Hughes bought the 2/10 Christie organ from the Empire (later St. James) theatre, Dunedin, New Zealand, and in 1959 he acquired the 2/8 WurliTzer organ (opus #748) previously in the Plaza theatre, Sydney. These two organs formed the basis of his residence organ, initially utilising the Empire Christie console. Later, Hughes acquired the 4 manual secondary console previously installed with the WurliTzer organ (opus #1987) of the State theatre, Melbourne, Victoria, and connected it to his residence organ. -
DNA Nation Press
PRESS KIT DISTRIBUTOR CONTACT PRODUCTION CONTACT SBS International Blackfella Films Lara von Ahlefeldt Darren Dale Tel: +61 2 9430 3240 Tel: +61 2 9380 4000 Email: [email protected] Email: [email protected] 10 Cecil Street Paddington NSW 2021 Tel: +612 9380 4000 Fax: +612 9252 9577 Email: [email protected] www.blackfellafilms.com.au Production Notes Producer Darren Dale Producer & Writer Jacob Hickey Series Producer Bernice Toni Director Bruce Permezel Production Company Blackfella Films Genre Documentary Series Language English Aspect Ratio 16:9 FHA Duration EP 1 00:51:53:00 EP 2 00:54:54:00 EP 3 00:52:58:00 Sound Stereo Shooting Gauges Arri Amira, F55, DJI Inspire Drone, Blackmagic & Go Pro Logline Who are we? And where do we come from? Short Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. © 2016 Blackfella Films Pty Ltd Page 2 of 40 Long Synopsis Who are we? And where do we come from? Australia’s greatest Olympian Ian Thorpe, iconic Indigenous actor Ernie Dingo, and TV presenter and Queen of Eurovision Julia Zemiro set off on an epic journey of genetic time travel to find out. DNA is the instruction manual that helps build and run our bodies. But scientific breakthroughs have discovered another remarkable use for it. DNA contains a series of genetic route maps. It means we can trace our mother’s mother’s mother and our father’s father’s father, and so on, back through tens of millennia, revealing how our ancestors migrated out of Africa and went on to populate the rest of the world. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
MINERVA THEATRE Feasibility Study – Executive Summary
MINERVA THEATRE Feasibility Study – Executive Summary MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Create NSW City of Sydney Minerva Theatre Feasibility Study – Executive Summary December 2020 Hawkridge Entertainment Services Tim Long Managing Director Nick Tobin Managing Director, Networked Urban Solutions Disclaimer This report (Study) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Create NSW and the City of Sydney. The information, statements, statistics and commentary (together the ‘Information’) contained in this study have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit. Hawkridge Entertainment Services Specialist consultants in the entertainment, sports, arts and venue industries Sydney | Melbourne | Perth | Singapore Page | 2 MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Executive Summary The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether: 1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and 2. there is market interest in reinstating the Minerva as a theatre. The study indicates that reinstatement of the Minerva as a commercially operated theatre is a viable proposition. -
Entertaining the Classes
Entertaining the Classes An archaeological investigation of historic cinemas in Metropolitan Adelaide, South Australia, and their development in relation to social class, 1896-1949 Antoinette Hennessy This thesis is subitted as partial requirement for the degree in Master of Cultural Heritage Management, Department of Archaeology, Flinders University November 2013 Declaration I certify that this thesis does not incorporate, without acknowledgment, any material previously submitted for a degree or diploma in any university; and that to the best of my knowledge and belief it does not contain any material previously published or written by another person except where due reference is made in the text. Name: Signature: Date: i Abstract This research analyses the influence of social class on the development of cinemas in metropolitan Adelaide during the period between 1908 to 1949 using a six-point business strategy (location, building, services, programming, airconditioning/ventilation and affordability), relating to the development of effective businesses. It assesses the validity of two competing theories of cinema histories, using a case study of metropolitan Adelaide, South Australia. The long-standing ‘embourgeoisement’ theory argued that cinemas and cinema- going underwent a gentrification process in which cinema proprietors gradually shifted their target demographic towards the wealthier middle classes, and made changes to venues according to middle class tastes and financial capabilities. During the 1970s, this position was questioned by proponents of the ‘revisionist’ theory, which argued that early film audiences were likely to be a mixture of class demographics, including the working, middle and wealthy classes. The results from this study largely supported the revisionist theory of early cinema development in Adelaide, South Australia. -
The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)
The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) The Mexican Film Bulletin Volume 18, Number 3 July-August 2012 2012 Ariel Awards 2012 Ariel Awards The 2012 (Winners Underlined) Ariel Awards Best Film ceremony took Días de gracia place on 2 June Miss Bala 2012 at the Pastorela Palacio de Bellas Best Direction Artes in Mexico Everardo Gout ( Días de gracia ) City. The two Gerardo Naranjo ( Miss Bala ) most-honoured Emilio Portes ( Pastorela ) films were Best Actress Pastorela (7 Magda Vizcaíno ( Martha ) Arieles, Teresita Sánchez ( Verano de Goliat ) including Best Irán Castillo ( Victorio ) Film) and Días de gracia (8 Arieles, including Best First Best Actor Work for director Everardo Gout). Tenoch Huerta ( Días de gracia ) The Lifetime Achievement Arieles de Oro were given Noé Hernández ( Miss Bala ) to Alfredo Joskowicz—director, former head of IMCINE Joaquín Cosío ( Pastorela ) and the Churubusco studios, film teacher—and sound engineer René Ruiz Cerón. The late Pedro Armendáriz Jr. Best Co-Starring Actress was also the subject of a tribute during the evening’s Norma Angélica ( Acorazado ) festivities. Eileen Yáñez ( Días de gracia ) Carlos Carrera, president of the Academia Mexicana de Nailea Norvind ( La otra familia ) Artes y Ciencias Cinematográficas, asked that Mexico’s Best Co-Starring Actor next president (whoever it shall be after the upcoming Krystyan Ferrer ( Días de gracia ) elections) help protect the Mexican film industry. He cited Mario Zaragoza ( Días de gracia ) a breakdown of the “gentleman’s agreement” that Carlos Cobos ( Pastorela ) guaranteed a week’s Roberto Sosa ( Victorio ) release for Mexican Best Original Screenplay films, with the Álvaro Curiel ( Acorazado ) possibility of a second Jorge A.