Czech Films in Official Selection
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Film/Broadcast Content the Increasing Role of “Tentpoles” in the Content Industry
Film/Broadcast Content The increasing role of “tentpoles” in the content industry The need for tentpoles in the content industry Overweight (Maintain) The content industry and a tent have one thing in common: both need a tentpole to support the entire structure. In the content industry, tentpoles are defined as hit titles Industry Report that provide a source of steady cash flow, such as the blockbuster films of movie studios July 27, 2015 and the top-rated programs of TV networks. The content industry is vulnerable to the success or failure of a title as well as changes in seasonality. Establishing a tentpole by investing around 70% of the annual budget on Daewoo Securities Co., Ltd. just one or two projects could prove an effective strategy against such risks. If tentpole [Telecom Service / Media] films or shows become a hit, they can compensate for losses made elsewhere. Creating a long-term tentpole lineup, increasing the number of tentpoles, and being able to predict Jee-hyun Moon future revenue can lead to a structural improvement in the business. In other words, +822-768-3615 tentpoles can make the content industry more predictable. [email protected] Tentpole strategies used in the film distribution and broadcasting industries The tentpole strategy is primarily used in the film distribution and broadcasting industries. A major proponent of the strategy is Walt Disney, which plans its five-year release lineup based on its Disney and Marble Comics franchises. The media giant has recently seen its film profits steadily grow after releasing a string of successful tentpole movies every quarter. -
Media Content the Next Players of China’S Growth
Media Content The next players of China’s growth A look into the growth pattern of China’s culture industry Overweight (Maintain) China has become a central player in almost every industry across the world. The media content industry is no exception. In our recent overseas marketing trip, we met many Industry Report foreign investors asking about Korean content stocks, and were left with the impression March 23, 2016 that investors were looking for the next players to benefit from China’s growth. In 2015, the tertiary industry contributed to more than half of China’s GDP for the first Daewoo Securities CCCo.,Co., Ltd. time ever, signaling a change in global stock leadership. China’s box-office market has been growing at an astonishing rate, outpacing forecasters’ predictions. Historically, US [Telecom Service / Media] cultural spending increased significantly when the country’s GDP per capita rose from Jee-hyun Moon US$4,000 to US$20,000. At present, China’s GDP per capita is just US$8,000. +822-768-3615 Furthermore, the Chinese government has pledged to develop the culture industry into [email protected] one of the backbones of its economy. Nu-ri Ha With infrastructure nearly complete, next big investment will be in content +822-768-4130 [email protected] China’s culture industry now has most of the necessary infrastructure in place. The boom in multiplex theater co nstruction has led to a considerable rise in the number of Hong-mei Cui screens, and box-office revenue is surging in third- and fourth-tier cities. -
Emerging Markets Small Cap Portfolio-Institutional Class As of July 31, 2021 (Updated Monthly) Source: State Street Holdings Are Subject to Change
Emerging Markets Small Cap Portfolio-Institutional Class As of July 31, 2021 (Updated Monthly) Source: State Street Holdings are subject to change. The information below represents the portfolio's holdings (excluding cash and cash equivalents) as of the date indicated, and may not be representative of the current or future investments of the portfolio. The information below should not be relied upon by the reader as research or investment advice regarding any security. This listing of portfolio holdings is for informational purposes only and should not be deemed a recommendation to buy the securities. The holdings information below does not constitute an offer to sell or a solicitation of an offer to buy any security. The holdings information has not been audited. By viewing this listing of portfolio holdings, you are agreeing to not redistribute the information and to not misuse this information to the detriment of portfolio shareholders. Misuse of this information includes, but is not limited to, (i) purchasing or selling any securities listed in the portfolio holdings solely in reliance upon this information; (ii) trading against any of the portfolios or (iii) knowingly engaging in any trading practices that are damaging to Dimensional or one of the portfolios. Investors should consider the portfolio's investment objectives, risks, and charges and expenses, which are contained in the Prospectus. Investors should read it carefully before investing. This fund operates as a feeder fund in a master-feeder structure and the holdings listed below are the investment holdings of the corresponding master fund. Your use of this website signifies that you agree to follow and be bound by the terms and conditions of use in the Legal Notices. -
EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon
EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon EENC Report, November 2012 (partially updated, September 2013 ) EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon EENC Report, November 2012 (partially updated, September 2013) This document has been prepared by Marie Le Sourd assisted by Elena Di Federico (staff at on-the- move.org) and Dr Sung-Won Yoon, Research Professor, Global Research Institute Graduate School of International Studies (GSIS), Korea University on behalf of the European Expert Network on Culture (EENC). Judith Staines, Editor of the website culture360.org and consultant for some South Korean organisations (such as KAMS) was the peer editor of this whole report, together with Jordi Baltà, researcher and programme coordinator at the Interarts Foundation and scientific coordinator of the EENC. The report was carried out between September and November 2012. Some tables in the main report and in the annexes were updated in September 2013, as duly noted throughout the document. The EENC was set up in 2010 at the initiative of Directorate-General for Education and Culture of the European Commission (DG EAC), with the aim of contributing to the improvement of policy development in Europe. It provides advice and support to DG EAC in the analysis of cultural policies and their implications at national, regional and European levels. The EENC involves 17 independent experts and is coordinated by Interarts and Culture Action Europe. For additional information see www.eenc.eu. -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019. -
Diplomasi Hallyu Terhadap China Terkait Kemelut
DIPLOMASI HALLYU TERHADAP CHINA TERKAIT KEMELUT TERMINAL HIGH ALTITUDE AREA DEFENSE DI KOREA SELATAN TAHUN 2016-2017 Skripsi Diajukan untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Hubungan Internasional (S.Sos.) Oleh: Qonita Amalia (1113113000080) PROGRAM STUDI HUBUNGAN INTERNASIONAL FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS ISLAM NEGERI SYARIFHIDAYATULLAH JAKARTA 2018 ABSTRAK Skripsi ini membahas upaya Korea Selatanbaik pemerintah maupun pihak swasta dalam menghapus larangan Hallyu di China yang merupakan respon dari disepakatinya kerjasama Korea Selatan dan Amerika dalam penempatan penangkal rudal atau Terminal High Altitude Area Defense (THAAD) yang merupakan perlindungan Korea Selatan dari rudal milik Korea Utara. Penelitian ini berfokus pada tahun 2016-2017 di mana pada tahun 2016 adalah tahun disepakatinya kerjasama Korea Selatan dan Amerika dan munculnya respon China yang melakukan aksi larangan Hallyu di China hingga tahun 2017 yangmana larangan Hallyu masih berlangsung. Bahkan pada tahun ini Korea Selatan melakukan pergantian presiden dari Park Geun Hye ke Moon Jae In.Penelitian ini menggunakan teori diplomasi budaya serta teori diplomasi publik sebagai alat analisa. Dari hasil analisis ini, didapatkan hasil bahwa peran yang dilakukan oleh suatu negara dalam mencapai kepentingannya tidak hanya dilakukan oleh pemerintah, melainkan pihak swasta juga dapat ikut berpartisipasi. Selain itu, dari hasil penelitian ini juga memperlihatkan bahwa sebuah opini yang di bentuk diharapkan bisa mendorong sebuah kebijakan agar -
Hallyuwood 54
Miroudot / Hallyuwood 54 HALLYUWOOD Korea’s Comparative Advantage in the Global Motion Picture Industry Sébastien Miroudot Organisation for Economic Co-operation and Development [email protected] Abstract After Hollywood and Bollywood, the recent success of the Korean motion picture industry has been described as the rise of “Hallyuwood,” suggesting that Korea has become the third pillar of the global motion picture industry. In order to explain the emergence of Hallyuwood, this paper uses a global value chain (GVC) approach and highlights some of the economic determinants in the internationalization of the Korean movie industry. Using input-output data and irm-level information, the paper irst analyzes the position of Korea in the motion picture GVC and assesses the ways in which the movie production has become more global. he results indicate that Korea is the country with the strongest comparative advantage in the motion picture value chain. he paper then discusses diferent aspects of the internationalization of the Korean motion picture industry, in particular: the role of co-production and foreign partners, the concentration and vertical integration of the industry, and the creation of a global brand. Finally, the paper looks at the main challenges the Korean industry will face if it desires to further expand and remain competitive, discussing government policies and the impact of the rise of China on Korea’s movie industry. Overall, the paper emphasizes that while typically national, cultural products can also beneit from global business strategies. Keywords comparative advantage; cultural products; global value chain; Hallyu; Korean wave; motion picture; movie industry About the Author Sébastien Miroudot is a senior trade policy analyst in the Trade in Services Division of the Trade and Agriculture Directorate of the Organisation for Economic Co-operation and Development. -
Korea Special 2012
www.screenDaily.com Korea special Focus 2012 MARCHÉ DU FILM 2012 RIVIERA B17-C18 CJENTERTAINMENT SCREENING P R O M O R E E L S TODAY MAY 19 SAT 19:30 STAR 4 / MAY 22 TUE 14:00 LERINS 2 THE TOWER SOAR INTO THE SUN MASSIVE DISASTER BLOCKBUSTER FILM AVIATION BLOCKBUSTER WITH FULL EXPLOSION AND DRAMA STARRING RAIN FROM NINJA ASSASSIN PERFECT NUMBER DERANGED BASED ON THE NAOKI PRIZE AWARDED NOVEL NATIONWIDE EPIDEMIC OUTBREAKS THE DEVOTION OF SUSPECT X BY KEIGO HIGASHINO BY A MUTANT PARASITE Mid-sized productions such as Showbox’s Detective K: Secret Of Virtuous Widow (above) and CJ E&M’s Punch (below) have proved big hitters at the Korean box offi ce Korea packs a punch Strong stories and word of mouth rather than big stars and special effects are the driving forces at the Korean box office. Liz Shackleton looks at the state of the local industry as new players enter the fray and eyes are turning towards China he old film business adage that ‘nobody box’s war drama The Front Line, also performed In addition, Daisy Entertainment, best known as knows anything’ when it comes to predicting The steady flow below expectations, though Sector 7 had a healthy a buyer that releases through its distribution arm Thits has been especially true for the Korean run in China and The Front Line — like My Way — Cinergy, is also stepping up production activity, co- fi lm industry over the past year, during which big- of mid-range sold well overseas. financing domestic titles such as omnibus film budget fi lms with high expectations have fl opped successes The emergence of new players is also shaking up Horror Stories and revenge thriller Don’t Cry and smaller fi lms without stars have cleaned up at pushed the the market. -
Marché Du Film Incredible Film
LISTE DES EXPOSANTS / LIST OF EXHIBITORS* IMMERSIFY ............................................................................................. CANNES XR - Stand 14.02 n PRINC FILMS ..................................................................................................................... Stand E1 s MARCHÉ DU FILM INCREDIBLE FILM ............................................................................................................. Stand K4 s PRODUCTION I.G ........................................................................................................... Stand 23.01 n 1091 ........................................................................................................ MARINA CLUB - Stand H6 s INDIE RIGHTS ................................................................................................................ Stand 21.01 n PROJETO PARADISO / INSTITUTO OLGA RABINOVICH ...................................... NEXT - Stand 20.07 n 1220 FILM PRODUCTION ................................................................................................. Stand E13 s INDUSTRYWORKS STUDIOS .............................................................................................. Stand D4 s PROLIFIC PICTURES ........................................................................................................ Stand C2b s 360 FILM FESTIVAL ................................................................................ CANNES XR - Stand 14.14 n ENTRANCE INFINITY PRODUCTION ................................................................................................... -
SOUTH KOREA (Pop: 51.2 Million)
SOUTH KOREA (Pop: 51.2 million) (1) SOUTH KOREA: THEATRICAL MARKET OVERVIEW, 2010-2016 2010 2011 2012 2013 2014 2015 2016 Screens 2,003 1,974 2,081 2,184 2,281 2,492 2,492 Theatrical admissions (millions) 149.2 159.0 194.8 213.3 215.1 217.3 217.0 Per capita attendance 3.0 3.2 3.8 4.2 4.3 4.3 4.3 Average ticket price (EUR*) 5.67 5.79 5.88 5.92 5.70 5.80 6.38 Box office (EUR millions*) 8,691 823.6 1,035.9 1,023.7 1,103.6 1,260.4 1,381.0 Releases 388 297 426 905 1,117 1,276 1,564 Domestic releases 128 93 140 183 232 286 388 US releases 123 117 117 265 258 309 343 European releases** 44 49 91 294 221 362 369 German releases 7 7 7 6 14 10 4 Domestic market share 46.2% 51.9% 58.8% 58.7% 50.1% 52.2% 53.7% German market share 1.56% 0.51% 0.08% 0.29% 0.74% 0.14% 0.02% *EUR equivalents are calculated throughout at the exchange rate for December 31 of the year in question. **Excluding German majority films Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 1 South Korea: Theatrical Market Shares 2010-2016 70 60 50 40 Domestic 30 German 20 10 Percentage Percentage of office box annual 0 2010 2011 2012 2013 2014 2015 2016 Korea: Theatrical Releases 2010-2016 2000 1500 Total Domestic 1000 US 500 European German 0 2010 2011 2012 2013 2014 2015 2016 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 2 (2) SOUTH KOREA: THEATRICAL RELEASES OF GERMAN FILMS, 2010-2016 TITLE DISTRIBUTOR RELEASE DATE BOX OFFICE US$ 2010 German films (100% or majority co-productions) THE LAST STATION -
Next Entertainment World (160550 KQ) Descendants of the Sun to Help Cushion Earnings
Next Entertainment World (160550 KQ) Descendants of the Sun to help cushion earnings Media Descendants of the Sun off to a strong start Descendants of the Sun : Next Entertainment World’s (NEW) first drama production Company Update Descendants of the Sun has been drawing huge audiences since its simultaneous premiere in Korea (KBS) and China (Baidu’s streaming site iQIYI). We believe the drama’s March 7, 2016 total production costs (W13bn for 16 episodes) will be fully recovered by the advance sales of airing rights and revenue from copyrights. The deal with iQIYI is believed to include incentives if the show exceeds a certain number of views, in addition to a fixed (Maintain) Trading Buy payment, suggesting additional profits may lie ahead. Drama business: NEW’s drama business is in its infancy and its project lineup is not yet Target Price (12M, W) 16,000 decided. But we think chances are high the company will continue its drama business , given its ownership structure and need for content diversification. NEW’s second- Share Price (03/04/16, W) 14,000 largest shareholder is Huace Media (13.03% stake), China’s largest drama production company. NEW also has an 11% stake in the domestic drama studio Victory Production Expected Return 14% & Company, which is expected to book revenue from the dramas Goodbye Mr. Black (Wednesday/Thursday nights on MBC) and Monster (Monday/Tuesday nights on MBC) , which will start airing in March after last year’s delays. OP (15F, Wbn) -2 Consensus OP (15F, Wbn) 1 Key earnings variables: Dramas in 1H and tentpole films in 2H Dramas in 1H16: We believe 1H16 earnings will be drive n by TV dramas, rather than EPS Growth (15F, %) -76.4 films. -
Industry Informationdownload
Contents 1. Industry Trends ∙ 1 1.1 Market Trends in Korea ∙ 1 1.2 Industrial Competitiveness ∙ 4 1.3 Promising Fields in Korea ∙ 7 2. Foreign Direct Investment Trends ∙ 9 2.1 Foreign Direct Investment Status ∙ 9 2.2 Major Success Cases of Major Foreign-Invested Companies ∙ 10 3. Policy and Locations ∙ 12 3.1 Key Policies and Incentives ∙ 12 3.2 Major Locations ∙ 14 3.3 Conditions of Location and Benefits for the Cultural Content Industry ∙ 16 4. Potential Partners ∙ 17 4.1 List of Related Companies ∙ 17 4.2 List of Related Associations ∙ 18 * Figures on the report show the likely adjustment of average yearly currency rates from Korean Won (KRW) to the US dollar (USD). A rate adjustment is adopted particularly reflecting the recent average market variations to eliminate the valuation effects arising from movements in exchange rates in case when the data expressed shows an annual growth rate on the paper. * Rate adjusted figures are rounded off, but the sum is correct down or up to the decimal when the rounded values are not equal to the adjustment. 1 Industry Trends Definition and Classification ■ The cultural content industry refers to the industry related to the production, distribution, and consumption of cultural products that create economic value based on human emotions, creativity, and imagination. ∙ According to relevant Korean laws, the cultural content industry is defined as the industry that provides services related to the planning, development, manufacturing, production, distribution, and consumption of cultural commodities. ∙ Cultural commodities refer to tangible or intangible goods and services, or combinations of such goods and services, that create economic added value and cultural factors including artistic value, creativity, amusement, leisure, and popularity.