ATRESMEDIA Televisión
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Seguimiento De Accesibilidad a La
SEGUIMIENTO DE ACCESIBILIDAD A LA TDT Informe de la CMT sobre accesibilidad de los contenidos televisivos Informe Económico Sectorial 2012 Comisión del Mercado de las Telecomunicaciones CMT Seguimiento de accesibilidad a la TDT ÍNDICE I. INTRODUCCIÓN ......................................................................................................................................................................................................................................................................... 4 Origen de los datos ....................................................................................................................................................................................................................................................................... 4 Operadores y canales incluidos en el informe ......................................................................................................................................................................................... 4 Porcentajes y valores de los servicios de accesibilidad en la programación de los canales según la LGCA 7/2010 ................................................................................................................................................... 5 Canales de programación de nueva emisión .............................................................................................................................................................................................. 6 Información solicitada a los -
January–September 2019 Results
JANUARY–SEPTEMBER 2019 RESULTS 30 September 2019 Atresmedia's consolidated financial statements were prepared in accordance with International Financial Reporting Standards (IFRS), taking into account all mandatory accounting principles and rules and measurement bases, as well as the alternative treatments permitted by the legislation in this regard. In addition, information is disclosed on the individual performance of the Group’s two main lines of business: Audiovisual and Radio. 1 1. HIGHLIGHTS ....................................................................... 3 1.1 Milestones and key figures .............................................. 3 1.2 The economic climate and the market .............................. 4 2. ATRESMEDIA ....................................................................... 6 2.1 Consolidated Income Statement ...................................... 6 2.1.1 Net revenue ......................................................... 7 2.1.2 Operating expenses ............................................... 7 2.1.3 Operating earnings and margins ............................. 8 2.1.4 Profit before tax .................................................... 9 2.1.5 Consolidated profit for the period ............................ 9 2.2 Consolidated Balance Sheet .......................................... 10 2.3 Consolidated Cash Flow Statement ................................ 12 2.4 Share price ................................................................. 13 2.4.1 Atresmedia's shares ........................................... -
New Spanish Shorts
2020 NEW SPANISH P.1 SHORTS P.2 SHORTS P.05 GOYA 2020 NOMINATED SHORT FILMS P.49 ASSOCIATIONS P.59 DISTRIBUTION COMPANIES P.63 FESTIVALS P.71 GRANTS P.89 SHORTS P.05P.5 SHORTS SPANISH NEW 16 December P.08 Ocean P.38 A Spectre is Haunting […] P.08 Offscreen P.38 Any Given Car P.09 Panthers P.39 Arctic P.09 Plan Eva P.39 As a Reflex P.10 Replica P.40 Barbara and the Wolf P.10 Rompente P.40 Best Seller P.11 Selfie P.41 Beyond the Glacier P.11 Sicreo P.41 Blooming P.12 Souvenir P.42 Cardelinas (Goldfinches) P.12 Stanbrook P.42 Confessions of a Swansong P.43 Budding Murderer P.13 There are two thousand images Confined Spaces P.13 waiting to be stored in my Coque P.14 memory and no room left P.44 Countrywomen P.14 Time-Out P.45 Cracks P.15 Torn Shoe P.45 Cracks, The P.15 Umbral P.46 Cuban Heel Shoes P.16 Us P.46 Dana P.16 When Summer Ends P.47 Daucus Carota P.17 Where Were You? P.47 Deep Waters P.17 Woman Without a Child P.48 DIYSex P.18 Xiao Qiang Had a Daydream P.48 Dying to Come Back P.18 Eki.librio P.19 Feet and Hearts P.19 Fig Tree, The P.20 Flora P.20 From a Distance, Everyone Looks Alike P.21 Gniele Dances P.21 Golden Legend, The P.22 Good Day! P.22 Günst ul vándrafoo / Gusts of Wild Life P.23 Hell P.23 Hell and Such P.24 Homomaquia P.24 House of Coto, The P.25 I Wait P.25 Influencer P.26 Innocence P.26 Intimacy P.27 Irmandade P.27 Just for a Moment P.28 La Nacencia P.28 La Santa P.29 Labo P.29 Last Game, The P.30 Living Room P.30 Lost Roots P.31 Lursaguak. -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
Television Advertising Insights
Lockdown Highlight Tous en cuisine, M6 (France) Foreword We are delighted to present you this 27th edition of trends and to the forecasts for the years to come. TV Key Facts. All this information and more can be found on our This edition collates insights and statistics from dedi cated TV Key Facts platform www.tvkeyfacts.com. experts throughout the global Total Video industry. Use the link below to start your journey into the In this unprecedented year, we have experienced media advertising landscape. more than ever how creative, unitive, and resilient Enjoy! / TV can be. We are particularly thankful to all participants and major industry players who agreed to share their vision of media and advertising’s future especially Editors-in-chief & Communications. during these chaotic times. Carine Jean-Jean Alongside this magazine, you get exclusive access to Coraline Sainte-Beuve our database that covers 26 countries worldwide. This country-by-country analysis comprises insights for both television and digital, which details both domestic and international channels on numerous platforms. Over the course of the magazine, we hope to inform you about the pandemic’s impact on the market, where the market is heading, media’s social and environmental responsibility and all the latest innovations. Allow us to be your guide to this year’s ACCESS OUR EXCLUSIVE DATABASE ON WWW.TVKEYFACTS.COM WITH YOUR PERSONAL ACTIVATION CODE 26 countries covered. Television & Digital insights: consumption, content, adspend. Australia, Austria, Belgium, Brazil, Canada, China, Croatia, Denmark, France, Finland, Germany, Hungary, India, Italy, Ireland, Japan, Luxembourg, The Netherlands, Norway, Poland, Russia, Spain, Sweden, Switzerland, UK and the US. -
European Citizen Information Project FINAL REPORT
Final report of the study on “the information of the citizen in the EU: obligations for the media and the Institutions concerning the citizen’s right to be fully and objectively informed” Prepared on behalf of the European Parliament by the European Institute for the Media Düsseldorf, 31 August 2004 Deirdre Kevin, Thorsten Ader, Oliver Carsten Fueg, Eleftheria Pertzinidou, Max Schoenthal Table of Contents Acknowledgements 3 Abstract 4 Executive Summary 5 Part I Introduction 8 Part II: Country Reports Austria 15 Belgium 25 Cyprus 35 Czech Republic 42 Denmark 50 Estonia 58 Finland 65 France 72 Germany 81 Greece 90 Hungary 99 Ireland 106 Italy 113 Latvia 121 Lithuania 128 Luxembourg 134 Malta 141 Netherlands 146 Poland 154 Portugal 163 Slovak Republic 171 Slovenia 177 Spain 185 Sweden 194 United Kingdom 203 Part III Conclusions and Recommendations 211 Annexe 1: References and Sources of Information 253 Annexe 2: Questionnaire 263 2 Acknowledgements The authors wish to express their gratitude to the following people for their assistance in preparing this report, and its translation, and also those national media experts who commented on the country reports or helped to provide data, and to the people who responded to our questionnaire on media pluralism and national systems: Jean-Louis Antoine-Grégoire (EP) Gérard Laprat (EP) Kevin Aquilina (MT) Evelyne Lentzen (BE) Péter Bajomi-Lázár (HU) Emmanuelle Machet (FR) Maria Teresa Balostro (EP) Bernd Malzanini (DE) Andrea Beckers (DE) Roberto Mastroianni (IT) Marcel Betzel (NL) Marie McGonagle (IE) Yvonne Blanz (DE) Andris Mellakauls (LV) Johanna Boogerd-Quaak (NL) René Michalski (DE) Martin Brinnen (SE) Dunja Mijatovic (BA) Maja Cappello (IT) António Moreira Teixeira (PT) Izabella Chruslinska (PL) Erik Nordahl Svendsen (DK) Nuno Conde (PT) Vibeke G. -
Informe Anual Y De Responsabilidad Corporativa 2012
ATRESMEDIA 2012 ANNUAL AND CORPORATE RESPONSIBILITY REPORT THE YEAR’S HIGHLIGHts 16 2012 Milestones Success in the integration of laSexta On 1 October, the merger took place between Antena 3 and laSexta, a successful process in which the former laSexta shareholders take an initial stake of 7% in the new company and an additional stake of up to 7%, phased in gradually and in function of compliance during the 2012-2016 period with a series of objectives related to the results of the new Group. With the incorporation of the television offering oflaSexta , Atresmedia Televisión adds to its outstanding presence in other markets (radio, advertising or cinema) a leading proposal in the television business: in total eight channels (Antena 3, laSexta, Neox, Nova, Nitro, xplora, laSexta3TODOCINE and Gol TV, the latter un- der a lease arrangement), which consolidates the Company as the leading com- munication group. Antena 3, the best year of its history Since the birth of Antena 3 until the present, the Company has been expand- ing and consolidating its business areas. Probably 2012 was the best year in the Group’s history despite the highly complex economic climate in which it has had to operate. Its family television model, based on quality and variety of contents, was applauded by the audience, by the audiovisual industry itself and by the ad- vertisers. ATRESMEDIA 2012 ANNUAL AND CORPORATE RESPONSIBILITY REPORT THE YEAR’S HIGHLIGHts 17 Antena 3 climbs to second position Tu Cara me Suena, El Hormiguero 3.0 In 2012, Antena 3 attained second position among the audience and was the only and Con el Culo leading television channel which succeeded in expanding in the year, to 12.5% of al Aire. -
Xix Congreso De Directivos Cede
XIX CONGRESO DE DIRECTIVOS CEDE PATROCINADORES INSTITUCIONALES Desde Valencia para toda España PATROCINADORES EL TIEMPO DEL LIDERAZGO TRANSFORMADOR COLABORADORES ENTIDADES ADHERIDAS CON LA COLABORACIÓN DE XIX CONGRESO DE DIRECTIVOS CEDE. XIX CONGRESO DE DIRECTIVOS Valencia , 21 octubre 2020 XIX CONGRESO DE DIRECTIVOS CEDE Desde Valencia para toda España XIX CONGRESO DE DIRECTIVOS CEDE Desde Valencia para toda España XIX CONGRESO DE DIRECTIVOS CEDE - VALENCIA ÍNDICE 2 ÍNDICE 4 Presentación 6 Comités del Congreso 8 Recepción de Bienvenida El Congreso 12 • Bienvenida • Los retos de la economía española • Una visión desde EE.UU. • Tendencias geopolíticas que influyen en la agenda empresarial • Innovación como reto de las empresas • Una visión desde Europa • Cómo afrontar la transformación de las organizaciones • Una visión desde Asia • Diálogo: El papel de las empresas frente a la crisis provocada por la COVID-19 • Visión sobre la situación actual y perspectivas de futuro • Diálogo: Visión sobre la situación actual y perspectivas de futuro • Sesión internacional • Acto de Clausura 116 Encuentro de Jóvenes “Talento en Crecimiento” 122 Índice de ponentes y moderadores 133 Entidades integradas a la Fundación CEDE 3 XIX CONGRESO DE DIRECTIVOS CEDE - VALENCIA PRESENTACIÓN CEDE PRESENTA EL LIBRO DEL CONGRESO “EL TIEMPO DEL LIDERAZGO TRANSFORMADOR” La Fundación CEDE-Confederación convirtiéndose en el evento de referencia Española de Directivos y Ejecutivos para la cúpula empresarial del país. actualmente agrupa a 36 asociaciones, En esta ocasión fue la ciudad de formadas por más de 155.000 directivos, Valencia, la que acogió la XIX edición del con la voluntad de ofrecer un espacio Congreso anual CEDE, bajo el lema ‘El común que fomente la excelencia en tiempo del liderazgo transformador’. -
Resultats VE2011
Informe Resultats Cobertura internacional : 150 països Europa : 59 països (France TV, VRT, NED1…) Amèrica : 20 països Àsia : 20 països (NBC, ESPN Brasil…) (SBS, Sky sports 1…) Agències : Àfrica : 52 països (Euronews, Reuters, etc.) (Supersports) Font : Unipublic 2011 XIFRES TV a Espanya 1. DIFUSIÓ : 129 hores a Teledeporte i La Primera, Audiències TV dels grans esdeveniments esportius Programes en directe - Espanya de les que 55 hores han estat retransmissió en directe 2. AUDIENCIA MITJA : 805.000 telespectadors Share: +5,6 pts vs cadena 628.000 805.000 480.000 telespect. telespect. telespect. 3. OFERTA ESPORTIVA : La Vuelta - 28% - 68% Molt per davant de la Copa Davis i l’Eurobasket vs Vuelta vs Vuelta Font : Kantar Media 2011 XIFRES TV a Espanya Un rendimient estable tot i existir un entorn de TV cada vegada m és fragmentat Mitja Share anual Teledeporte Audiència « La Vuelta » (000’s) - 13% - 2% 824 1,50% 805 1,30% 2010 2011 2010 2011 Font: Kantar Media 2011 XIFRES TV a Espanya Anàlisis comparatiu dels millors resultats d'audiència Edició 2010 : La Bola del Mundo Edició 2011 : Alto del Angliru 2.251.000 telespectadors 2.277.000 telespectadors Font : Kantar Media 2011 Resultats d’altres mitjans #1. PREMSA #2. RADIO #3. Noticies en TV 4.684 articles (+6%) 759 noticies (+6%) 570 noticies (+18%) Font : Kantar Media 2011 La Vuelta : 2 milions d’espectadors Un esdeveniment festiu que es comparteix Perfil seguidors Espanyol (97%) 38 anys (mitja) Home (81%) En grup (3/4 persones) De mitja recorren 57 km per veure La Vuelta 3h23 de permanència in situ Font : Enquesta entre púlic assistent 2011. -
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. -
Introduction: Approaching Performance in Spanish Film
Introduction: approaching performance in Spanish film Dean Allbritton, Alejandro Melero and Tom Whittaker The importance of screen acting has often been overlooked in studies on Spanish film. While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. This is perhaps surprising, given the central role that acting occupies within a film. In his essay ‘Why Study Film Acting?’, Paul McDonald argues that acting is not only crucial to understanding the affective charge of mov- ies, but integral to the study of film as a whole (2004: 40). Yet, despite its significance, performance remains one of the most elusive and difficult aspects of film analysis. One of the reasons for this, according to Pamela Robertson Wojcik, is its apparent transparency (2004: 1). A ‘good’ actor supposedly renders their performance ‘invisible’, thereby concealing the process of acting from the audience, and engaging us within the emo- tional universe of the character. To this effect, discussion on acting is all too frequently evaluative: we think in terms of how convincing or natu- ralistic a given performance is, or are invited to appreciate the actorly skills and techniques that are brought to bear on the film. Yet, when it comes to writing about performance academically, it can prove altogether more challenging. It requires us to single out and momentarily freeze the flow of specific moments of performance within a film, and to break them down to their tiniest details. We need to pay attention to what Paul McDonald has called the ‘micromeanings of the voice and body’ (2004: 40), intricately drawing out the ways in which gesture, body, facial expression and vocal delivery work together to cre- ate meaning. -
Anne Igartiburu Y Paula Vázquez
TVE quiere compartir con los espectadores el 50º aniversario del comienzo de la televisión en nuestro país y les invita a una gran gala de conmemoración,en el “prime time” de este jueves 7 de diciembre, presentada por tres excepcionales maestras de ceremonia: Laura Valenzuela, Anne Igartiburu y Paula Vázquez. Un espectacular decorado presidido por una gran pantalla de televisión. Así se hizo la gala El espectacular diseño del escenario genes. Esta pantalla está dotada la que van apareciendo algunos de del Auditorio, de 650 metros cua- también de un juego de luces para los artistas. Del techo iluminado drados, y realizado por los profesio- cambiar de color y de forma. cuelga una bola de discoteca, que nales del centro de producción de Es, sin duda, la protagonista del recuerda a las de los años 70, de Televisión Española de Sant Cugat, escenario y por ella van surgiendo 1,20 m. de diámetro. recuerda que ésta es la fiesta de los los videos y sketchs humorísticos a Para la realización de la gala se 50 años de TVE. manera de un gran televisor del que ha llevado a cabo un importante El decorado, de un gran impacto brotan los 50 años de historia de despliegue técnico y humano: 40 visual, incorpora unas torres metáli- TVE. Esta sensación envolvente profesionales de TVE de distintas cas de brillante luminosidad, situa- hace pensar que todo el espectácu- especialidades; 2 unidades móviles das delante de un fondo general en lo sale de esta “tele gigantesca”. digitales; 14 cámaras; 3 grúas de el que destaca una enorme pantalla Otra de las particularidades del “cabeza caliente”; 2 “steadycam” y central de alta definición, de 9 por escenario es la existencia de una 1 unidad móvil de sonido.