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Where Are the Audiences?
WHERE ARE THE AUDIENCES? Full Report Introduction • New Zealand On Air (NZ On Air) supports and funds audio and visual public media content for New Zealand audiences. It does so through the platform neutral NZ Media Fund which has four streams; scripted, factual, music, and platforms. • Given the platform neutrality of this fund and the need to efficiently and effectively reach both mass and targeted audiences, it is essential NZ On Air have an accurate understanding of the current and evolving behaviour of NZ audiences. • To this end NZ On Air conduct the research study Where Are The Audiences? every two years. The 2014 benchmark study established a point in time view of audience behaviour. The 2016 study identified how audience behaviour had shifted over time. • This document presents the findings of the 2018 study and documents how far the trends revealed in 2016 have moved and identify any new trends evident in NZ audience behaviour. • Since the 2016 study the media environment has continued to evolve. Key changes include: − Ongoing PUTs declines − Anecdotally at least, falling SKY TV subscription and growth of NZ based SVOD services − New TV channels (eg. Bravo, HGTV, Viceland, Jones! Too) and the closure of others (eg. FOUR, TVNZ Kidzone, The Zone) • The 2018 Where Are The Audiences? study aims to hold a mirror up to New Zealand and its people and: − Inform NZ On Air’s content and platform strategy as well as specific content proposals − Continue to position NZ On Air as a thought and knowledge leader with stakeholders including Government, broadcasters and platform owners, content producers, and journalists. -
Mapping the Information Environment in the Pacific Island Countries: Disruptors, Deficits, and Decisions
December 2019 Mapping the Information Environment in the Pacific Island Countries: Disruptors, Deficits, and Decisions Lauren Dickey, Erica Downs, Andrew Taffer, and Heidi Holz with Drew Thompson, S. Bilal Hyder, Ryan Loomis, and Anthony Miller Maps and graphics created by Sue N. Mercer, Sharay Bennett, and Michele Deisbeck Approved for Public Release: distribution unlimited. IRM-2019-U-019755-Final Abstract This report provides a general map of the information environment of the Pacific Island Countries (PICs). The focus of the report is on the information environment—that is, the aggregate of individuals, organizations, and systems that shape public opinion through the dissemination of news and information—in the PICs. In this report, we provide a current understanding of how these countries and their respective populaces consume information. We map the general characteristics of the information environment in the region, highlighting trends that make the dissemination and consumption of information in the PICs particularly dynamic. We identify three factors that contribute to the dynamism of the regional information environment: disruptors, deficits, and domestic decisions. Collectively, these factors also create new opportunities for foreign actors to influence or shape the domestic information space in the PICs. This report concludes with recommendations for traditional partners and the PICs to support the positive evolution of the information environment. This document contains the best opinion of CNA at the time of issue. It does not necessarily represent the opinion of the sponsor or client. Distribution Approved for public release: distribution unlimited. 12/10/2019 Cooperative Agreement/Grant Award Number: SGECPD18CA0027. This project has been supported by funding from the U.S. -
TVNZ Ondemand
In this episode… TVNZ OnDemand 1 NEWS • TVNZ OnDemand Year In Review • 1 NEWS Online: January update • Finishing 2020 strong • Top stories in January • 20/21 Summer overview • Sponsorship Opportunity: Morning • TVNZ OnDemand summer performance YOY Briefing • Over 761,000 viewers were reached in January • Over 19M streams in January Re: • Over 3.5M livestreams in January • January update • What did our viewers watch? • Desperate Housewives heats up • Shortland Street: Summer Holiday • Live Sports: The Power of Livestreaming • TVNZ OnDemand: New CTV Show Page TVNZ OnDemand is the largest BVOD platform in NZ, and when paired with TVNZ broadcast TV it’s the combo that works the hardest for your campaign TVNZ 1, 2, Duke Source - Nielsen TAM, consolidated, 29 Dec 2019-2 Jan 2021, AP5+. Average Weeky reach. All day. TVNZ OnDemand Source - Nielsen CMI (Q4 19 – Q3 20). Base: AP15+ AdEffect case study TVNZ OnDemand is strongest amongst those aged 25-44 TVNZ OnDemand: The ultimate incremental reach generator to broadcast TV • TVNZ OnDemand is an incredibly effective online video advertising platform in New Zealand. • It is the smartest way to gain incremental reach to broadcast TV in NZ’s cluttered digital landscape. • BVOD extends the reach of Broadcast TV across ALL demos. • Build reach faster by adding TVNZ OnDemand to your TVNZ Free-to-Air schedule. To learn more check out the full presentation here. Source: TVNZ Incremental Reach Presentation 2020. Nielsen CMI (Q3 19 - Q2 20). The way that people watch TV continues to evolve. Through our extensive delivery to relevant endpoints, TVNZ OnDemand makes content available to all New Zealanders, whenever and however they want to watch. -
Tvnz Teletext
TVNZ TELETEXT YOUR GUIDE TO TVNZ TELETEXT INFORMATION CONTENTS WELCOME TO TVNZ TELETEXT 3 TVNZ Teletext Has imProved 4 New PAGE GUIDE 5 NEW FUNCTIONS AND FEATURES 6 CAPTIONING 7 ABOUT TVNZ TELETEXT 8 HOW TO USE TVNZ TELETEXT 9-10 HISTORY OF TVNZ TELETEXT 11 FAQ 12-13 Contact detailS 14 WELCOME TO TVNZ TELETEXT It’s all available Your free service for up-to-the-minute news and information whenever you on your television need it – 24 hours a day, all year round. at the push of From news and sport to weather, a button travel, finance, TV listings and lifestyle information – it’s all available on your television, at the push of a button. 3 TVNZ Teletext Has imProved If you’ve looked at TVNZ Teletext recently and couldn’t find what you expected, don’t worry. To make the service easier and more logical to use we’ve reorganised a little. Your favourite content is still there – but in a different place. The reason is simple. We have a limited number of pages available, but need to show more information than ever. Previously, TVNZ Teletext had similar information spread across many pages unnecessarily. We’ve reorganised to keep similar pages together. For example, all news content is now grouped together, as is all sport content. You may also notice that the branding has changed slightly. Teletext is still owned and run by TVNZ, just as it always has been, we are now just reflecting this through the name - TVNZ Teletext. Now more than ever it will be a service that represents the integrity, neutrality and editorial independence you expect from New Zealand’s leading broadcaster. -
This Is Shows Exclusive to TVNZ Ondemand, and All the Best Content from TVNZ 1, OVER TVNZ 2 and TVNZ DUKE Whenever and Wherever You Want It
#1 NZ BVOD BREADTH AND PLATFORM DEPTH OF CONTENT TVNZ OnDemand is the #1 BVOD platform in New Zealand3. It houses the biggest and boldest international % content from around the world. 402,000 23 14 Progressive and exciting new local NEW SIGN UPS YTD LOCAL GENRES This is shows exclusive to TVNZ OnDemand, and all the best content from TVNZ 1, OVER TVNZ 2 and TVNZ DUKE whenever and wherever you want it. REACHED OVER 21,000 1.3 145.1 DIFFERENT EPISODES TVNZ OnDemand is a brand safe MILLION OF OUR CONTENT IS environment, with premium content, MILLION TVNZ ONDEMAND LED STREAMS YTD % and a low ad load. PEOPLE 13+ YTD (+43% YOY) 37 OR EXCLUSIVELY ON TVNZ ONDEMAND. Source: Google Analytics, 13+, Jan-Sep 19 Source: Google Analytics, 13+, Jan-Sep 19, Led = content first available on TVNZ OnDemand before Source: Nielsen CMI (Q1 - Q2 data) airing on TVNZ’s linear channels REACHING TOP REACHING YOUR ADS GET AUDIENCE NEW ZEALANDERS PROGRAMMES 13+ SEEN & HEARD BREAKDOWN AVERAGE COMPLETION RATE GENDER 1 1 Shortland Street 347,800 % % % TVNZ OnDemand is 13 years old. WEEKLY REACH (+14% YOY) 2 Catch-22 97 YTD 62 37 FEMALE MALE 3 Leaving Neverland V.S 72.5% APAC BENCHMARK 1 4 Killing Eve MILLION AGE 3.7 5 Educators AVERAGE VIEWABILITY WEEKLY STREAMS (+43% YOY) % 6 1 News at Six 97 YTD 78% 18-54 62% 18-44 TVNZ ONDEMAND 7 The Big Bang Theory REACHES V.S 65.3% APAC BENCHMARK %2 8 Wentworth 60% 25-54 % 44 9 MotherFatherSon Sound is on automatically, 37 F 25-54 OF NEW ZEALANDERS and content is usually viewed EVERY WEEK 10 My Kitchen Rules Australia on full screen. -
Broadcasting Standards in New Zealand
APRIL 2016 BROADCASTING STANDARDS IN NEW ZEALAND FOR RADIO, FREE-TO-AIR-TELEVISION & PAY TELEVISION DEVELOPED BY BROADCASTERS AND THE BSA AND ISSUED TO TAKE EFFECT FROM 1 APRIL 2016 In the case of any inconsistency between this Codebook and any predating BSA material such as codes, practice notes and advisory opinions, this Codebook will prevail. BROADCASTING STANDARDS IN NEW ZEALAND BROADCASTING STANDARDS AUTHORITY - TE MANA WHANONGA KAIPAHO LEVEL 2 | 119 GHUZNEE STREET PO BOX 9213 | WELLINGTON 6141 | NEW ZEALAND (04) 382 9508 | FREEPHONE: 0800 366 996 WWW.BSA.GOVT.NZ 1 / Broadcasting Standards Authority CONTENTS INTRODUCTION 03 THE FREE-TO-AIR The Broadcasting Standards Authority 04 TELEVISION CODE 32 Broadcasters 05 Standard 1 – Good Taste and Decency 35 Freedom of Expression 06 Standard 2 – Programme Information 35 Choice and Control 07 Standard 3 – Children’s Interests 36 Standards, Guidelines and Commentary 08 Standard 4 – Violence 36 Definitions 09 Standard 5 – Law and Order 36 Standard 6 – Discrimination and Denigration 37 COMMENTARY ON Standard 7 – Alcohol 37 Standard 8 – Balance 39 THE STANDARDS 10 Standard 9 – Accuracy 39 Standard 10 – Privacy 41 THE RADIO CODE 22 Standard 11 – Fairness 41 Standard 1 – Good Taste and Decency 25 Standard 2 – Programme Information 25 THE PAY Standard 3 – Children’s Interests 25 TELEVISION CODE 42 Standard 4 – Violence 26 Standard 1 – Good Taste and Decency 45 Standard 5 – Law and Order 26 Standard 2 – Programme Information 45 Standard 6 – Discrimination and Denigration 26 Standard 3 – Children’s -
Multiple Documents
Alex Morgan et al v. United States Soccer Federation, Inc., Docket No. 2_19-cv-01717 (C.D. Cal. Mar 08, 2019), Court Docket Multiple Documents Part Description 1 3 pages 2 Memorandum Defendant's Memorandum of Points and Authorities in Support of i 3 Exhibit Defendant's Statement of Uncontroverted Facts and Conclusions of La 4 Declaration Gulati Declaration 5 Exhibit 1 to Gulati Declaration - Britanica World Cup 6 Exhibit 2 - to Gulati Declaration - 2010 MWC Television Audience Report 7 Exhibit 3 to Gulati Declaration - 2014 MWC Television Audience Report Alex Morgan et al v. United States Soccer Federation, Inc., Docket No. 2_19-cv-01717 (C.D. Cal. Mar 08, 2019), Court Docket 8 Exhibit 4 to Gulati Declaration - 2018 MWC Television Audience Report 9 Exhibit 5 to Gulati Declaration - 2011 WWC TElevision Audience Report 10 Exhibit 6 to Gulati Declaration - 2015 WWC Television Audience Report 11 Exhibit 7 to Gulati Declaration - 2019 WWC Television Audience Report 12 Exhibit 8 to Gulati Declaration - 2010 Prize Money Memorandum 13 Exhibit 9 to Gulati Declaration - 2011 Prize Money Memorandum 14 Exhibit 10 to Gulati Declaration - 2014 Prize Money Memorandum 15 Exhibit 11 to Gulati Declaration - 2015 Prize Money Memorandum 16 Exhibit 12 to Gulati Declaration - 2019 Prize Money Memorandum 17 Exhibit 13 to Gulati Declaration - 3-19-13 MOU 18 Exhibit 14 to Gulati Declaration - 11-1-12 WNTPA Proposal 19 Exhibit 15 to Gulati Declaration - 12-4-12 Gleason Email Financial Proposal 20 Exhibit 15a to Gulati Declaration - 12-3-12 USSF Proposed financial Terms 21 Exhibit 16 to Gulati Declaration - Gleason 2005-2011 Revenue 22 Declaration Tom King Declaration 23 Exhibit 1 to King Declaration - Men's CBA 24 Exhibit 2 to King Declaration - Stolzenbach to Levinstein Email 25 Exhibit 3 to King Declaration - 2005 WNT CBA Alex Morgan et al v. -
Television Reform Ir Broadcasting Blues Nem Zealand
Television Reform ir Nem Zealand - l The underlying dilemma is the small j size o f the New Zealand market, which, Broadcasting Blues or Blue Sky? I with a population o f four million, j limits the profitability o f multiple The New Zealand television industry has a charter which requires it to fulfil various | television operators, and means been the subject o f various reforms since cultural objectives. Questions remain about \ funding o f local content and public 1999 dealing with local content, diversity of how the new charter obligations will be funded \ service broadcasting is an ongoing and programming, digital broadcasting, the role over the long term and whether TVNZ will be i difficult issue. of the public broadcaster and funding. Marion successful in balancing a public service role \ Jacka examines these developments, remarking with a commercial imperative. The government broadcasting between two organisations - TVNZ on the distinctive features of the New Zealand has declined to introduce mandatory local and NZ On Air - which would pursue each market and the commitment to social and content quotas and has opted instead for a self- of these objectives independently (Spicer et cultural objectives. regulatory scheme similar to the approach being a I 1996, p. 15). The public funding previously taken to New Zealand music on commercial allocated to BCNZ and collected in the form of Overview radio. a public broadcasting fee was transferred to NZ Many New Zealanders have the While there has been some dissatisfaction with On Air. The role of this agency was to promote broadcasting blues. They want TV and radio the pace of reform from the film and television universal access, 'minority programming', and of a higher calibre (Christchurch Press, 2 production industry and various commentators, programs which reflect New Zealand identity February 2000, p. -
The Future of Personalised TV Advertising Is Here
The future of personalised TV advertising is here: TVNZ D namic Ad Insertion TVNZ Dynamicy Ad Insertion More and more people are live streaming TVNZ broadcast TV through TVNZ OnDemand. 14.9 million streams between Jan and April, up 133% YOY! Source: TVNZ/Google Analytics, AP, Live Streams Jan – Apr 2020 vs. Jan – Apr 2019. ©2020 TVNZ Approx. Audience: 16% 37k TVNZ live of TVNZ viewers using streaming OnDemand streams TVNZ OnDemand viewing occasions are live streams. weekly for live are in sync streaming only. with broadcast Up 47% YoY. trends. This is a great opportunity for you to extend the reach of your TVNZ campaign. Source: TVNZ/Google Analytics, AP, Live Streams, 29 Dec 2019 – 2 May 2020 vs. 31 Dec 2018 – 27 Apr 2019. ©2020 TVNZ At the moment, if you’re live streaming through TVNZ OnDemand, you see the same ad break Why? as everyone else in New Zealand who’s watching. ©2020 TVNZ That’s about to change. You can now book your ads to be placed dynamically into a TVNZ OnDemand live stream based on viewer attributes. Advertisers can use DAI to target the viewers most important to them by applying data sets onto the live stream, with the same targeting capability as TVNZ OnDemand. ©2020 TVNZ The benefit? Viewers will see ads targeted to them, giving them a more relevant experience and making them more likely to connect with your brand. > Age > Gender > Region > Time of day ©2020 TVNZ Plus! Results for your brand can be measured and reported. TVNZ can measure: > Completed impressions When you combine Dynamic Ad > City and region Insertion on TVNZ OnDemand with > Age and gender demographics from the mass reach of TVNZ broadcast TVNZ OnDemand logged-in profiles TV you can increase your reach with a layer of audience targeting to drive > Device endpoints consideration for your brand. -
Statement of Intent for 4 Years Ending 30 June 2021
F.20 Television New Zealand Limited and subsidiaries Statement of Intent For 4 Years Ending 30 June 2021 Table of Contents 1. Introduction 1 2. Who we are and what we do 1 3. Challenges within the operating environment 2 4. TVNZ’s strategic objectives 3 5. Statement of service performance 4 6. Capability 4 APPENDIX – Consultation, subsidiary and associated companies Introduction This Statement of Intent outlines TVNZ’s strategy for the forthcoming four years. It should be read in conjunction with each year’s Statement of Performance Expectations. Who we are and what we do TVNZ is a Crown Owned Entity and has a Board of Directors appointed by the Minister for Communications and the Minister of Finance. The Chief Executive has day to day management of the company. The Television New Zealand Act 2003 provides the company editorial independence of which freedom from political influence is a fundamental principle. TVNZ’s operations are governed by: Television New Zealand Act 2003. Broadcasting Act 1989. Companies Act 1993. Crown Entities Act 2004. Owner’s Expectations Manual as published by the Crown Ownership Monitoring Unit. Business Planning ‘Outlook Letter’ sent to TVNZ in advance of the 1 July start to the financial year. Memorandum of Understanding between TVNZ and the Minister of Broadcasting (for the Pacific Service). Compliance with the current Free-to-Air Code of Broadcasting Practice regulated by the Broadcasting Standards Authority. Compliance with advertising codes promulgated through the Advertising Standards Authority. -
Rules for the Use of Short Extracts for News Reporting Applicable for the Pyeongchang 2018 Paralympic Winter Games 2018
Rules for the use of short extracts for news reporting applicable for the PyeongChang 2018 Paralympic Winter Games 2018 International Paralympic Committee Adenauerallee 212-214 Tel. +49 228 2097-200 www.paralympic.org 53113 Bonn, Germany Fax +49 228 2097-209 [email protected] A. INTRODUCTION The International Paralympic Committee (IPC) governs the Paralympic Movement and is the exclusive owner of the Paralympic Games and owns all rights and data relating thereto. In particular all rights relating to the organisation of the Paralympic Games, their exploitation, broadcasting, recording, representation, reproduction, access and dissemination in any form and by any means or mechanisms whatsoever, whether now existing or developed in the future belong to the IPC. The IPC in conjunction with the respective Organising Committee determines the conditions of access to Paralympic Venues including to the competitions and sports performances of the Paralympic Games. These Rules apply to the use for news purposes of moving images of the PyeongChang 2018 Paralympic Winter Games to take place in PyeongChang, South Korea (the “Games”) by non- rights holding Television Broadcasters, Radio Broadcasters and News Media Organisations (together referred to as “Non-Rights Holders”). All Paralympic Material is subject to and protected by national and international copyright laws throughout the world, and such copyrights are the exclusive property of the IPC. Capitalised terms used in these Rules have the meaning set out in the Definitions section at the end of these Rules. Only those organisations that have been granted the right by the IPC to broadcast Paralympic Material for a particular territory (“Rights Holders”) may do so. -
Public Broadcaster Comparison 2016
Analysis of Government Support for Public Broadcasting Nordicity Prepared for CBC|Radio-Canada April 11, 2016 About Nordicity Nordicity (www.nordicity.com) is a powerful analytical engine with expertise in strategy and business, evaluation and economics, policy and regulation for the arts, cultural and creative industries. Because of Nordicity’s international presence, it has become widely recognized for its ability to translate developments and best practices between markets for the private, public and third sectors. Nordicity would like to Dr. Manfred Kops of the Institute for Broadcasting Economics at the University of Cologne for his contribution to the research and analysis of public broadcasting funding in Germany. Table of Contents Executive Summary 1 1. Introduction 4 2. The Potential Benefits of Public Broadcasting 5 2.1 Market failure in broadcasting 5 2.2 Role of public broadcasting 5 2.3 Potential benefits index 6 3. International Comparison of Public Broadcasting 9 3.1 Public funding for public broadcasting 9 3.2 Public funding vs. potential benefits 11 3.3 Commercial revenues 12 3.4 Advertising revenues 15 3.5 Public funding by type of funding tenure 18 4. The Canadian Government’s Economic Support for Culture 19 5. Funding Models for Public Broadcasting 22 5.1 Overview of funding models 22 5.2 Funding model changes in selected countries 24 5.2.1 France 24 5.2.2 Spain 28 5.2.3 Germany 30 5.2.4 Finland 34 5.2.5 United Kingdom 35 5.3 Key findings 38 References and Data Sources 40 Appendix A: Statistics for Public Broadcasters