Delegate List Updated Friday 24 June 2016
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Final Website Delegate List 2017
Delegate List Updated 27th August 2017 First Name Surname Company Lucy Acfield Guinness World Records Sara Acworth Zeamu Music Patrick Adam The Eggleys Lindsey Adams Daily Madness Productions Rick Adams Rick Adams Productions Folake Adigun Nickelodeon Ivan Agenjo Peekaboo Animation Metsamarja Aittokoski Sun In the Eye Productions Lisa Akhurst DNA Creative Ltd waed al ghabra Sheffield Hallam University Madawi Alahmad University of Sheffield Margret Albers Association for the Promotion of German Milly Ali Timeline Television Shazia Ali Mint Research Ltd Foz Allan Bryncoed Productions Ltd Jo Allen CBBC Ollie Alsop Serious Lunch/Eye Present Vanessa Amberleigh CBeebies Val Ames Kindle Entertainment Xiaomei An The University of Sheffiled Steven Andrew Zodiak Kids Nicola Andrews Keshet International UK Ltd Chris Andrews CA Dev Valentina Andries University of Edinburgh Tom Angell Tom Angell Ltd Laura Annis Blue Zoo Productions Laverne Antrobus Tavistock and Portman NHS Trust Rhodri ap Dyfrig S4C Will Appiah Digital Shoguns Thomas Archibald BT Ben Armstrong BBC Finn Arnesen Hasbro Studios Helen Arntsen Blue Zoo Keith Arrowsmith The Children's Media Conference Nihal Arthanayake BBC Abhi Arya Sandbox Corrina Askin Corrina Askin Films Leigh Aspin BBC Sarah Aspinall Virgin Media Martin Athanasiou I'm Hungry Studios Isabella Atkin Volunteer Tessa Atkins Small Fry Animation Lucy Atkinson BBC Jonathan Attenborough Lost My Name Ros Attille BBC Ami Aubrey The Children's Media Conference Jake Aubrey-Bentley Freelance Lauren Auty Finger Industries Tristan -
THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS
THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 43rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Daytime Emmy Awards To be held at the Westin Bonaventure Hotel and Suites on May 1st Daytime Creative Arts Emmy® Awards Gala on April 29th Individual Achievement in Animation Honorees Announced New York – March 24th, 2016 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 43rd Annual Daytime Emmy® Awards. The awards ceremony will be held at the Westin Bonaventure Hotel and Suites on Sunday, May 1st. The Daytime Creative Arts Emmy Awards will also be held at the Bonaventure on Friday, April 29th, 2016. The 43rd Annual Daytime Emmy Award Nominations were revealed today on the Emmy-winning show, “The Talk,” on CBS. “After last year’s critically successful Daytime telecast, it is with great disappointment that The National Academy of Television Arts & Sciences (NATAS) announces that there will not be a broadcast of the 43rd Annual Daytime Emmy ® Awards,” said Bob Mauro, President. “After months of negotiations to find show sponsorship, the NATAS Executive Board has decided that the current climate for awards shows prohibits the possibility of a telecast this year. With that said, we will be putting on a world-class awards celebration honoring the best and brightest of Daytime television and look forward to an exciting show. All efforts regarding returning the annual gala to television in 2017 are underway.” “We are especially grateful for our passionate Daytime fans and are looking forward to producing a grand gala that honors the talents and artistries of all the professionals that represent Daytime television,” said David Michaels, SVP, Daytime Emmy Awards. -
A Hidden Culture Anne Wood on How Art Helps Young Children Develop
Perspectives on the value of art and culture Children and the Arts: A Hidden Culture Anne Wood on how art helps young children develop READ ON Anne Wood Back Next 02 Anne Wood is one of the most influential figures in children’s television. Born in Spennymoor, County Durham, she grew up in the mining community of Tudhoe Colliery then began a career as a secondary school teacher. She was a leading voice for children’s literature before launching a career in broadcasting. In 1984, she formed Ragdoll Productions, known for such television series as Rosie & Jim, Tots TV, Brum, In the Night Garden, Twirlywoos – and Teletubbies. She is the founder of The Ragdoll Foundation (www.ragdollfoundation.org.uk), which aims to provide a space for alternative thinking, voices and practices, to seek new creative solutions and partners, and to collaborate and share knowledge. It is currently leading the Save Kids’ Content UK campaign (www.savekidscontent.org.uk), which has the particular objective of safeguarding the production of UK- originated television for children. As a cultural notion, childhood emerged in western society somewhere around the 1850s and lasted until somewhere around the 1950s when the cult of the teenager first made itself felt in the USA, and spread around the world. Now, in the 21st century, we hear children are ‘growing up too fast’ or that ‘childhood is lost’. It is not that children are biologically changing. Although many may be taller, more robust and have greater life expectancy than previous generations, essentially children are no different. They have the same need to explore life and navigate it successfully, which has always been central to humanity. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
Noble Media Newsletter Q4 2019
MEDIA SECTOR REVIEW INTERNET AND DIGITAL MEDIA COMMENTARY Online Advertising Exceeded Traditional Media Advertising in 2019 As we start 2020 and a new decade, we take look back the past decade and look forward toward what the future may hold for media companies. According to several advertising prognosticators, online INSIDE THIS ISSUE advertising accounted for slightly more than 50% of total US advertising spend in 2019, more than triple from 15% just 10 years earlier. For additional perspective, it was just three years ago (2016) that Outlook: Internet and Digital Media 1 Digital Media 4 online advertising, at $72.B, first exceeded TV advertising. Just three years later, the medium now Advertising Tech. 5 exceeds all traditional media on a combined basis, as we expect total online ad spend to be Marketing Tech. 6 approximately $130B in 2019 (roughly 85% larger than TV ad spend. Social Media 7 Industry M&A Activity 8 The media sectors that suffered the most from the growth of the internet were print mediums such as Outlook: Traditional Media 10 Newspapers, Magazines, and Yellow Pages, follow by Radio, and, to a lesser extent, Television and Out- TV 14 Radio 15 Of-Home. Newspapers declined from roughly 22% of total US advertising in 2009 to roughly 5% in Publishing 16 2019. Magazine’s share declined from 12% to 5% and Radio from 11% to 7%, respectively. And, for the Industry M&A Activity 17 first time, Television, the second largest medium behind the Internet, fell below 30% of total US Noble Overview 18 advertising to 28%. -
Delegate List Updated Friday 13 May 2016
Delegate List Updated Friday 13 May 2016 First Name Surname Company Lauren Ace Little Tiger Group Lindsey Adams Daily Madness Productions Chisara Agu-Franklynn Lisa Akhurst DNA Creative Martin Amor Cosmic Kids Natasha Armstrong Booktrust Courtney Arumugam Mattel Creations Corrina Askin Corrina Askin Films Jake Aubrey Student Ami Aubrey Showcomotion Ameerah Ayyad Jamie Badminton Karrot Entertainment Tim Bain Timothy Bain Sophie Ballinger Eureka! The National Children's Museum Zoe Bamsey Coolabi Ltd Chris Banks Banks & Wag Justine Bannister JUST B Thomas Barthelmeus ... and now for something completely different Julian Bashford Visionality / Noodle Food Caleb Bastock Thornbridge Taps Ltd Steph Bateman University of Salford Peter Baynton Peter Baynton Tom Beattie Tiger Aspect Productions Hilary Beecroft BCre8ive Ltd Kay Benbow BBC Louise Benham The Walt Disney Company Joe Bettridge Ragdoll Productions Limited Steve Bicknell Maverick Arts Publishing Gabriel Boccuni Ual Anton Botes Fourth Wall Creative Chris Bowden Mackinnon and Saunders Ltd Matt Bowen ITV James Boyd Bedtracks Inc Lekisha Bradley University of Sheffield Kirstie Brockett Fremantle Kids & Family Brolly Brollyman Brollyman Productions LTD Vanessa Brookman Turner Keith Brumpton Keith Brumpton Ltd Joanna Budden British Council TJ Bull Just Anim8 Helen Bullough BBC Claire Burdfield CMC Dean Byrne University Of Salford Matilda Byström SVT Laura Campbell Dog Ears Ltd Kate Canning Canning Factory Danny Carmel Joanne Carmichael Joanne Carmichael Ruth Cassidy Immediate Media Co London Limited Jan Caston Jan Caston Phil Chalk Factory Diane Chaplin Helen Charalambous Turner Yihua Chen University of Sheffield Greg Childs CMC Darren Chouings The Children's Media Conference Dr Barbie Clarke Family Kids & Youth Adam Clarke Adam Clarke Thomas Cocker Thomas Cocker James Coleman Plug-in Media Tony Collingwood Collingwood & Co Mick Cooke Too Many Cookes Music Ltd. -
THE CHILDREN's MEDIA YEARBOOK 20 17 ••• Edit E D B Y Te
The Children’s Media Yearbook 2017 ••• EditEd by tErri LANGAN & frANcEs tAffiNdEr 8 The Children’s Media Yearbook is a publication of The Children’s Media Foundation Director, Greg Childs Administrator, Jacqui Wells The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected] First published 2017 © Terri Langan & Frances Taffinder for editorial material and selection © Individual authors and contributors for their contributions All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. You must not circulate this book in any other binding or cover. ISBN 978-0-9575-5188-6 (paperback) ISBN 978-0-9575518-9-3 (digital version) Book design by Jack Noel Welcome to the 7 2017 Yearbook research Greg Childs can reading improve 38 children’s self esteem? editor’s introduction 9 Dr Barbie Clarke and Alison David Terri Langan the realitY of 41 virtual for kids current Alison Norrington can You groW an open 45 affairs and mind through plaY? industrY neWs Rebecca Atkinson children’s media 11 rethinking 47 foundation revieW toddlers and tv Anna Home OBE Cary Bazalgette concerns about kids and fake neWs 51 media 14 Dr Becky Parry Anne Longfield OBE coming of age online: 54 animation uk 17 the case for Youth-led Helen Brunsdon and Kate O’Connor digital -
Quarterly Securities Report for the Three Months Ended December 31, 2019
Quarterly Securities Report For the three months ended December 31, 2019 (TRANSLATION) Sony Corporation CONTENTS Page Note for readers of this English translation 1 Cautionary Statement 1 I Corporate Information 3 (1) Selected Consolidated Financial Data 3 (2) Business Overview 4 II State of Business 5 (1) Risk Factors 5 (2) Management’s Discussion and Analysis of Financial Condition, Results of Operations and 5 Status of Cash Flows (3) Material Contracts 13 III Company Information 14 (1) Information on the Company’s Shares 14 (2) Directors and Corporate Executive Officers 18 IV Financial Statements 19 (1) Consolidated Financial Statements 20 (2) Other Information 50 Note for readers of this English translation On February 10, 2020, Sony Corporation (the “Company” or “Sony Corporation” and together with its consolidated subsidiaries, “Sony” or “Sony Group”) filed its Japanese-language Quarterly Securities Report (Shihanki Houkokusho) for the three months ended December 31, 2019 with the Director-General of the Kanto Local Finance Bureau in Japan pursuant to the Financial Instruments and Exchange Act of Japan. This document is an English translation of the Quarterly Securities Report in its entirety, except for (i) information that had been previously filed with or submitted to the U.S. Securities and Exchange Commission (the “SEC”) in a Form 20-F, Form 6-K or any other form and (ii) a description of differences between generally accepted accounting principles in the U.S. (“U.S. GAAP”) and generally accepted accounting principles in Japan (“J-GAAP”), which are required to be described in the Quarterly Securities Report under the Financial Instruments and Exchange Act of Japan if the Company prepares its financial statements in conformity with accounting principles other than J-GAAP. -
Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre
Science Fictional The Aesthetics of Science Fiction Beyond the Limits of Genre Andrew Frost University of NSW | College of Fine Arts PhD Media Arts 2013 4 PLEASE TYPE Tl<E UNIVERSITY OF NEW SOUTH WALES Tht:tltiDittorUdon Sht•t Surname or Fenily name: Frost FIRI neme; Andrew OCher namels: Abbr&Yia~lon fof" dcgrco as given in the Unlverslty caltn<S:ar. PhD tCOde: 1289) Sd'IOOI; Seh.ool Of Media Arts Faculty; Coll999 of A ne Am Title: Science Fletfonar.: The AestheUes or SF Beyond the Limit:t of Gcnt'O. Abstract 350 words maximum: (PLEASE TYPE) ScMtnce Flcdonal: The Anthetics of SF Beyond the Umlts of Genre proposes that oonte~my eufture 1$ * $pallal e)Cl>ertence dom1nS'ed by an aesane(IC or science liction and its qua,;.genefic form, the ·$dence ficdonal', The study explores the connective lines between cultural objects suet! as film, video art. painting, illustration, advertising, music, and children's television in a variety ofmediums and media coupled with research that conflates aspects of ctitical theory, art history a nd cuttural studies into a unique d iscourse. The study argues thai three types of C\lltural e ffeets reverberation. densi'ly and resonanoe- affect cultural space altering ood changing the 1ntel'l)totation and influeooe of a cuUural object Through an account of the nature of the science fictional, this thesis argues that science fiction as wo uncJersland It, a.nd how 11 has beon oooventionally concefved, is in fact the counter of its apparent function within wider culture. While terms such as ·genre~ and ·maln-stream• suggest a binary of oentre and periphery, this lh-&&is demonstrates that the quasi-generic is in fact the dominant partner in the process of cultural production, Ocelamlon ,.~ lo disposition or projoct thnlsJdtuen.tlon I htrOby grltlt t<> I~ Ul'll\IOI'IiiY Of Now SOUIJ'I WaltS or i&& agents the rlg:tlllo ard'llve anct to INike available my ttwrsl9 or di$sertabon '" whole or in 1»Jt il'lllle \Jtlivetsay lbrsrles., at IOtmS Of tnedb, rtOW or hero <~~Ot kncwn, 5tAijod:.lo lho Jl«Mdonll ol lho Co9yrlghlt Act 1968. -
MPLC Studioliste Juli21-2.Pdf
MPLC ist der weltweit grösste Lizenzgeber für öffentliche Vorführrechte im non-theatrical Bereich und in über 30 Länder tätig. Ihre Vorteile + Einfache und unkomplizierte Lizenzierung + Event, Title by Title und Umbrella Lizenzen möglich + Deckung sämtlicher Majors (Walt Disney, Universal, Warner Bros., Sony, FOX, Paramount und Miramax) + Benutzung aller legal erworbenen Medienträger erlaubt + Von Dokumentar- und Independent-, über Animationsfilmen bis hin zu Blockbustern ist alles gedeckt + Für sämtliche Vorführungen ausserhalb des Kinos Index MAJOR STUDIOS EDUCATION AND SPECIAL INTEREST TV STATIONS SWISS DISTRIBUTORS MPLC TBT RIGHTS FOR NON THEATRICAL USE (OPEN AIR SHOW WITH FEE – FOR DVD/BLURAY ONLY) WARNER BROS. FOX DISNEY UNIVERSAL PARAMOUNT PRAESENS FILM FILM & VIDEO PRODUCTION GEHRIG FILM GLOOR FILM HÄSELBARTH FILM SCHWEIZ KOTOR FILM LANG FILM PS FILM SCHWEIZER FERNSEHEN (SRF) MIRAMAX SCM HÄNSSLER FIRST HAND FILMS STUDIO 100 MEDIA VEGA FILM COCCINELLE FILM PLACEMENT ELITE FILM AG (ASCOT ELITE) CONSTANTIN FILM CINEWORX DCM FILM DISTRIBUTION (SCHWEIZ) CLAUSSEN+PUTZ FILMPRODUKTION Label Anglia Television Animal Planet Productions # Animalia Productions 101 Films Annapurna Productions 12 Yard Productions APC Kids SAS 123 Go Films Apnea Film Srl 20th Century Studios (f/k/a Twentieth Century Fox Film Corp.) Apollo Media Distribution Gmbh 2929 Entertainment Arbitrage 365 Flix International Archery Pictures Limited 41 Entertaiment LLC Arclight Films International 495 Productions ArenaFilm Pty. 4Licensing Corporation (fka 4Kids Entertainment) Arenico Productions GmbH Ascot Elite A Asmik Ace, Inc. A Really Happy Film (HK) Ltd. (fka Distribution Workshop) Astromech Records A&E Networks Productions Athena Abacus Media Rights Ltd. Atlantic 2000 Abbey Home Media Atlas Abot Hameiri August Entertainment About Premium Content SAS Avalon (KL Acquisitions) Abso Lutely Productions Avalon Distribution Ltd. -
Platform Delegate List
First Name Surname Job Title Company Email Suleeko Abdi Student [email protected] Frances Abebreseh Communications Manager Netflix Lucy Acfield Head of Brand & Product Marketing Guinness World Records James Acken Founder, Freelancer Acken Studios lindsey@dailymadnessproducti Lindsey Adams Producer Daily Madness ons.com Megan Adams Look Mentor Look UK ToyLikeMe Seleena Addai Illustrator / Character Designer The Secret Story Draw [email protected] Animation Production Liaison [email protected] Abigail Addison Executive ScreenSkills om Aiden Adkin Creative Director Harbour Bay [email protected] Selorm Adonu Director XVI Films [email protected] Ivan Agenjo Executive Producer Peekaboo Animation [email protected] Jayne Aguire Walsh Entry Level Creative Freelance [email protected] Andrew Aidman Producer Andrew Aidman [email protected] Sun In Eye Productions, Aittokoski Metsamarja Aittokoski Screenwriter, Director, Producer Experience [email protected] Sonja Ajdin Research Manager Viacom Yinka Akano CRBA Exec BBC [email protected] Production and Development Francesca Alberigi Coordinator Nickelodeon International Aoife Alder Research Executive ITV Candice Alessandra Student Student Laura Alexander Video Producer / Editor Acamar Films Kristopher Alexander Professor of Video Games The Digital Citadel [email protected] Lisa Ali Freelance Freelance Shakila Ali Content Impact BBC Co-Founder and Chief Creative Caroline Allams Officer Natterhub [email protected] Bill Allard -
MPLC Deutschland Repertoirelizenz Studioliste Stand 08.2021 101 Films 12 Yard Productions 123 Go Films
MPLC Deutschland Repertoirelizenz Studioliste Stand 08.2021 101 Films 12 Yard Productions 123 Go Films 20th Century Studios (f/k/a Twentieth 2929 Entertainment 365 Flix International Century Fox Film Corp.) 41 Entertaiment LLC 495 Productions 4Licensing Corporation (fka 4Kids Entertainment) A Contracorriente - Spain A Really Happy Film (HK) Ltd. (fka A&E Networks Productions Distribution Workshop ACIP (fka Angel City Factory (ACP)) AI Film AIM Group (dba Cinevision Global -Ambassador Film Library) AMBI Distribution Corp. (pka Ambi AMBI Exclusive Acquisitions Co. LLC (pka AMOS Pictures Ltd Exclusive Aquisitions Co., LLC) Icon Film Distribution Pty Ltd) APC Kids SAS Abacus Media Rights Ltd Abbey Home Media Abot Hameiri About Premium Content SAS Abso Lutely Productions Absurda Acacia Acorn Media Acorn TV Actaeon Films Adult Swim Productions Adventure Line Productions (ALP) Aenon Affiliate of Valiant Women Society (fka Maralee Dawn Ministries) Agatha Christie Productions Ager Film Air Productions Al Dakheel Inc Alberio Films Alcina Pictures (ex. Canada) Alcon Entertainment Alcon Television All-In-Production Gmbh Alley Cat Films Aloupis Productions Amazing Maurice Productions Ltd American Heroes Productions American Portrait Films American World Pictures Anglia Television Animal Planet Productions Animalia Productions Annapurna Productions Apnea Film Srl (ex. IT) Apollo Media Distribution Gmbh Arbitrage Archery Pictures Limited Arclight Films International ArenaFilm Pty. Arenico Productions GmbH Artisan Asmik Ace, Inc. (ex. Japan) Astromech Records Athena Atlantic 2000 Atlas August Entertainment Avalon (KL Acquisitions) Avalon Distribution Ltd Avalon Television Avanti Media Fiction Avanti media Film- und Fernsehproduktion Azucar Entertainment BBC Studios Distribution Ltd. BBL Distribution BBP Music Publishing c/o Black Bear Pictures BET BKN International AG - All Rights Reserved BMG Audiovisual (Soundstage / Berlin Live TV) Bandai Namco Arts Inc (ex.