Economics and Methodology
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Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
Digital Distribution
HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Piratez Are Just Disgruntled Consumers Reach Global Theaters That They Overlap the Domestic USA Blu-Ray Release
Moviegoers - or perhaps more accurately, lovers of cinema - are frustrated. Their frustrations begin with the discrepancies in film release strategies and timing. For example, audiences that saw Quentin Tarantino’s1 2 Django Unchained in the United States enjoyed its opening on Christmas day 2012; however, in Europe and other markets, viewers could not pay to see the movie until after the 17th of January 2013. Three weeks may not seem like a lot, but some movies can take months to reach an international audience. Some take so long to Piratez Are Just Disgruntled Consumers reach global theaters that they overlap the domestic USA Blu-Ray release. This delay can seem like an eternity for ultiscreen is at the top of the entertainment a desperate fan. This frustrated enthusiasm, combined industry’s agenda for delivering digital video. This with a lack of timely availability, leads to the feeling of M is discussed in the context of four main screens: being treated as a second class citizen - and may lead TVs, PCs, tablets and mobile phones. The premise being the over-anxious fan to engage in piracy. that multiscreen enables portability, usability and flexibility for consumers. But, there is a fifth screen which There has been some evolution in this practice, with is often overlooked – the cornerstone of the certain films being released simultaneously to a domestic and global audience. For example, Avatar3 was released entertainment industry - cinema. This digital video th th ecosystem is not complete without including cinema, and in theaters on the 10 and 17 of December in most it certainly should be part of the multiscreen discussion. -
Apple / Shazam Merger Procedure Regulation (Ec)
EUROPEAN COMMISSION DG Competition CASE M.8788 – APPLE / SHAZAM (Only the English text is authentic) MERGER PROCEDURE REGULATION (EC) 139/2004 Article 8(1) Regulation (EC) 139/2004 Date: 06/09/2018 This text is made available for information purposes only. A summary of this decision is published in all EU languages in the Official Journal of the European Union. Parts of this text have been edited to ensure that confidential information is not disclosed; those parts are enclosed in square brackets. EUROPEAN COMMISSION Brussels, 6.9.2018 C(2018) 5748 final COMMISSION DECISION of 6.9.2018 declaring a concentration to be compatible with the internal market and the EEA Agreement (Case M.8788 – Apple/Shazam) (Only the English version is authentic) TABLE OF CONTENTS 1. Introduction .................................................................................................................. 6 2. The Parties and the Transaction ................................................................................... 6 3. Jurisdiction of the Commission .................................................................................... 7 4. The procedure ............................................................................................................... 8 5. The investigation .......................................................................................................... 8 6. Overview of the digital music industry ........................................................................ 9 6.1. The digital music distribution value -
The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Hastings Scholarship Repository (University of California, Hastings College of the Law) Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 7 1-1-2014 Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A. Braxton Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jasmine A. Braxton, Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing, 36 Hastings Comm. & Ent. L.J. 193 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/7 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing by JASMINE A. BRAXTON* I. Introduction ......................................................................................................................... 193 II. Background: The Current State of Copyright Law for -
A Framework of Guidance for Building Good Digital Collections
A Framework of Guidance for Building Good Digital Collections 3rd edition December 2007 A NISO Recommended Practice Prepared by the NISO Framework Working Group with support from the Institute of Museum and Library Services About NISO Recommended Practices A NISO Recommended Practice is a recommended "best practice" or "guideline" for methods, materials, or practices in order to give guidance to the user. Such documents usually represent a leading edge, exceptional model, or proven industry practice. All elements of Recommended Practices are discretionary and may be used as stated or modified by the user to meet specific needs. This recommended practice may be revised or withdrawn at any time. For current information on the status of this publication contact the NISO office or visit the NISO website (www.niso.org). Published by National Information Standards Organization (NISO) One North Charles Street, Suite 1905 Baltimore, MD 21201 www.niso.org Copyright © 2007 by the National Information Standards Organization All rights reserved under International and Pan-American Copyright Conventions. For noncommercial purposes only, this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the publisher, provided it is reproduced accurately, the source of the material is identified, and the NISO copyright status is acknowledged. All inquires regarding translations into other languages or commercial reproduction or distribution should be addressed to: NISO, One North Charles Street, Suite -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Distribution 2020: Situational Analysis
pwc.com.au Distribution 2020: Situational Analysis Tourism Australia Distribution in Australia’s international markets: Situational Analysis March 2013 Final Report Key Findings There is no one agreed definition of ‘tourism distribution’ across both industry participants and government bodies. Some viewed the term ‘distribution’ to be the interaction of customers with travel agents and other traditional intermediary, or third party channels. In this context, communicating directly with customer was thought of as ‘marketing’ activity. The other view was that distribution encompasses any action or channel that connects customers with tourist products, be it through direct communication or through third parties. While the general idea of linking a customer through to a travel and tourism product is a consistent theme across both these views, we have adopted the broader all-encompassing definition, as this better aligns with changes in how consumers are purchasing travel products, and how industry has responded to these changes. In this study we are seeking to: understand the relevance of different tourism distribution approaches now and in the future across Australia’s key holiday markets. review the current structure and activities of Tourism Australia and state tourism organisations (STOs). While specific data across sources is fragmented and hence clouds the view of the future, the key findings of our initial review, consumer survey and stakeholder interviews are: There is a clear trend towards a greater role of online sources for identifying Australia as a holiday destination, and then planning, booking and subsequently sharing holiday experiences. Indeed, the identification of Australia as a destination, and the planning of a holiday, increasingly is undertaken online. -
Cd Projekt Capital Group Activities Between 1 January and 30 June 2018 2
MANAGEMENT BOARD REPORT ON CD PROJEKT CAPITAL GROUP ACTIVITIES BETWEEN 1 JANUARY AND 30 JUNE 2018 2 Disclaimers This English language translation has been prepared solely for the convenience of English speaking readers. Despite all the efforts devoted to this translation, certain discrepancies, omissions or approximations may exist. In case of any differences between the Polish and the English versions, the Polish version shall prevail. CD PROJEKT, its representatives and employ- ees decline all responsibility in this regard. Management Board report on CD PROJEKT Capital Group activities for the period between 1 January and 30 June 2018 (all figures quoted in PLN thousands unless stated otherwise) 3 Table of contents 9 Brief description of the CD PROJEKT Capital Group 10 Activity profile 20 Growth prospects of the CD PROJEKT Capital Group 22 CD PROJEKT S.A. on the capital market 24 CD PROJEKT Capital Group activity profile 25 Organizational structure of the CD PROJEKT Capital Group 27 Disclosure of business segments, products, services, outlets, suppliers and customers 37 Description of external and internal factors affecting the CD PROJEKT Capital Group 39 Disclosure of significant agreements 40 Risk management at the Capital Group 41 Financial results of the CD PROJEKT Group 42 Overview of key economic and financial indicators disclosed in the consolidated and separate financial statement 60 Corporate governance 61 Entity contracted to audit financial statements 61 Shareholders controlling at least 5% of the vote at the General Meeting 62 Agreements which may result in changes in the proportions of shares held by shareholders and bondholders 62 Information regarding the purchase of own shares 63 Company shares held by members of the Management Board and the Supervisory Board 64 Composition of the Management Board of CD PROJEKT S.A. -
Megaupload Indictment.Pdf
GENERAL ALLEGATIONS At all times relevant to this Indictment: 1. KIM DOTCOM, MEGAUPLOAD LIMITED, VESTOR LIMITED, FINN BATATO, JULIUS BENCKO, SVEN ECHTERNACH, MATHIAS ORTMANN, ANDRUS NOMM, and BRAM VAN DER KOLK, the defendants, and others known and unknown to the Grand Jury, were members of the “Mega Conspiracy,” a worldwide criminal organization whose members engaged in criminal copyright infringement and money laundering on a massive scale with estimated harm to copyright holders well in excess of $500,000,000 and reported income in excess of $175,000,000. 2. Megaupload.com is a commercial website and service operated by the Mega Conspiracy that reproduces and distributes copies of popular copyrighted content over the Internet without authorization. Since at least September 2005, Megaupload.com has been used by the defendants and other members and associates of the Mega Conspiracy to willfully reproduce and distribute many millions of infringing copies of copyrighted works, including motion pictures, television programs, musical recordings, electronic books, images, video games, and other computer software. Over the more than five years of its existence, the Mega Conspiracy has aggressively expanded its operations into a large number of related Internet businesses, which are connected directly to, or at least financially dependent upon, the criminal conduct associated with Megaupload.com. 3. Megaupload.com was at one point in its history estimated to be the 13th most frequently visited website on the entire Internet. The site claims to have had more than one billion visitors in its history, more than 180,000,000 registered users to date, an average of 2 50 million daily visits, and to account for approximately four percent of the total traffic on the Internet. -
International Intellectual Property Alliance®
I NTERNATIONAL I NTELLECTUAL P ROPERTY A LLIANCE® 1818 N STREET, NW, 8TH FLOOR · WASHINGTON, DC 20036 · TEL (202) 355-7924 · FAX (202) 355-7899 · WWW.IIPA.COM · EMAIL: [email protected] September 14, 2012 Filed via www.regulations.gov, Docket No. USTR–2012–0011 Stanford K. McCoy, Esq. Assistant U.S. Trade Representative for Intellectual Property and Innovation Office of the U.S. Trade Representative Washington, DC 20508 Re: IIPA Written Submission Re: 2012 Special 301 Out-of-Cycle Review of Notorious Markets: Request for Public Comments, 77 Fed. Reg. 48583 (August 14, 2012) Dear Mr. McCoy: In response to the August 14, 2012 Federal Register notice referenced above, the International Intellectual Property Alliance (IIPA)1 provides the Special 301 Subcommittee with the following written comments to provide examples of Internet and physical “notorious markets” – those “where counterfeit or pirated products are prevalent to such a degree that the market exemplifies the problem of marketplaces that deal in infringing goods and help sustain global piracy and counterfeiting.” We hope our filing will assist the Office of the United States Trade Representative (USTR) in “identifying potential Internet and physical notorious markets that exist outside the United States and that may be included in the 2012 Notorious Markets List.” We express appreciation to USTR for publishing a notorious markets list as an “Out of Cycle Review” separately from the annual Special 301 Report. This list has successfully identified key online and physical marketplaces that are involved in intellectual property rights infringements, and has led to some positive developments. These include closures of some Internet websites whose businesses were built on illegal conduct, greater cooperation from some previously identified “notorious” and other suspect sites, and the facilitation of licensing agreements for legitimate distribution of creative materials.