14 April 2019 - 29 June 2019 April: Week 16 W/C 14/04/2019
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Seven Network Ratings Report Nov 5 to Nov 11
13 November 2017 Seven Network Ratings Report Week 45: 5 November – 11 November 2017 Seven wins in primetime on primary channels - Seven is number 1 for total viewers, 16-39s, 18-49s and 25-54s. Seven wins in primetime on digital channels - 7mate is number 1 for total viewers, 18-49s and 25-54s. Seven wins in primetime on combined audiences - Seven’s broadcast platform of Seven + 7TWO + 7mate + 7flix combine to win primetime in total viewers, 16-39s, 18-49s and 25-54s on the combined audiences of all multiple channels. Seven wins in news - Seven News leads Nine News. Seven wins in breakfast television - Sunrise leads Today. Seven wins in morning television - The Morning Show leads Today Extra. Seven wins at 5:30pm - The Chase leads Hot Seat. The Rugby League World Cup dominates across the Screens of Seven - peaks at 1.1 million and reaches 2.2 million on Saturday. 7Live delivers 1.6 million streaming minutes. - across the Rugby League World Cup, Seven’s coverage across Seven and 7mate delivers an audience reach of 5.3 million Australians and 7.7 million live streaming minutes on 7Live. The Melbourne Cup dominates across the Screens of Seven - Seven’s television coverage peaks at 2.7 million and reaches 4.2 million in-home viewers. - 7Live delivers the biggest streaming day of any free-to-air broadcast event since the Australian Open: 350,000 concurrent streams up 22% on 2016 and across the day 10.9 million streaming minutes up 64% on 2016. - 7HorseRacing on Facebook reaches 850,000. -
Siros Niaros Assistant Stunt Coordinator, Safety Supervisor, Stunt Actor, Martial Artist
SIROS NIAROS ASSISTANT STUNT COORDINATOR, SAFETY SUPERVISOR, STUNT ACTOR, MARTIAL ARTIST PROFILE Siros has been involved in the stunt world since he first began training in the mid-1990s. During this time, his unique abilities, specifically in the areas of martial arts and weaponry, saw him achieve his grading as a stunt performer. Now a graded Safety Supervisor, Assistant Stunt Coordinator and experienced all-rounder, he has been involved in many productions, both locally and overseas. His safety supervision includes work on The Killer Elite, Underbelly: Squizzy, Blessed, Rush, MEAA # 3002325 Offspring, Tangle, Small Time Gangster. Stunt credits include The Killer AUSTRALIAN STUNT MANAGEMENT Elite, Knowing, Where The Wild Things Are, Tender Hook, The Lost Agent | Louise Brown Treasure of Fiji, Rush, Underbelly, City Homicide, Blue Heelers, etc. P: + 613 9682 9299 Whilst Siros is a pleasure to work with whether it is as a safety M: +61 (0)425 713 246 F: +613 9682 9455 supervisor, stunt rigger and assistant or in front of camera, with his E: [email protected] dark looks and solid build, Siros’ foray into the world of acting W: www.australianstuntmanagement.com.au invariably sees him consistently landing the role of “the bad guy”! FILM CREDITS | STUNTS | SAFETY • How Do You Know Chris? 2018 Feature SAC • Bunghole 2017 Feature SS • Stem 2017 Feature US SS Additional • Undertow 2017 Feature SS • Dog Fight 2016 Feature (China/AUS) SS • Ali’s Wedding 2015 Feature SS • Spirit Of The Game 2015 Feature SS • What Time Is My -
Seven Unveils Content Plans for 2019
SEVEN UNVEILS CONTENT PLANS FOR 2019 Slate includes new Bevan Lee drama and two supersized reality hits Geraldine Hakewill, Joel Jackson and Catherine McClements headline Miss Fisher spin-off MKR’s 10th anniversary season to launch the year “Top Gear meets food” in new Gordon Ramsay series New overseas dramas feature screen heavyweights Martin Clunes, Sheridan Smith, Kelsey Grammer and more (Sydney, Friday October 26): The Seven Network today unveiled its content plans for 2019. Four new local dramas, including the next offering from creator Bevan Lee; two supersized reality hits; a female spinoff to one of the year’s most heart-warming hits and the landmark 10th season of one of Australia’s biggest shows are just some of the programs set to take Seven into its 13th consecutive year of leadership. Commenting, Seven’s Director of Network Programming Angus Ross said: “After a close win last year, we promised to up our game in 2018, and the team has delivered in spades. We’ve broken records and dominated the ratings throughout the year. In fact, in every month we have never dropped below a 39% share, while our competitors have never been above 39%. Our worst is still better than their best. “What’s particularly pleasing is that this success is down to the strength and depth of our programming across the board. From 6am to midnight, we have the strongest spine of ratings winners, bar none. And with the AFL and Cricket locked up until 2022, Seven can guarantee those mass audiences, and certainty for our advertisers, for years to come.” NEW TO SEVEN IN 2019 BETWEEN TWO WORLDS From Australia’s most prolific creator/writer Bevan Lee (Packed to the Rafters, A Place To Call Home, All Saints, Winners & Losers, Always Greener) comes an intense, high concept contemporary drama series about two disparate and disconnected worlds, thrown together by death and a sacrifice in one and the chance for new life in the other. -
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008 Broadcasting Act 1990 Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Contents Introduction Scale and impact Chairman’s introduction 04 Viewer impact 60 Chief Executive’s introduction 06 Top tens 64 Output and spend 66 Channel 4’s public impact 08 Creative economy impact 68 Talent ladder 70 Nurture Partnerships 71 Awards 72 Film4 Productions and Slumdog Millionaire 12 Comedy Lab 14 Final comments on public impact report 76 The Devil’s Whore 16 Assurance statement 77 City of Vice 18 Key measures 20 Finance Challenge Operating and financial review 80 Report of the members 84 Saving Africa’s Witch Children 24 Report of the auditors 86 Dispatches and Unreported World 26 Consolidated income statement 88 Channel 4 News 28 Balance sheets 89 The Family 30 Cashflow statements 90 Key measures 32 Significant accounting policies 91 Notes to the financial statements 95 Champion Corporate governance 121 Members 127 Islam Unveiled 36 Report on members’ remuneration 128 Big Brother 38 Programmes and the licence 132 Hunger 40 Historical record 134 Disarming Britain 42 Key measures 44 Inspire Secret Millionaire 48 Embarrassing Bodies and The Sex Education Show 50 Big Food Fight 52 Battlefront 54 Key measures 56 Chairman’s introduction Luke Johnson Chairman The media establishment is undergoing its most violent In recent months, Channel 4 has demonstrated its creative upheaval since Channel 4 was founded 26 years ago. The credentials in spades. With Slumdog Millionaire, Film4 won digital revolution, combined with a severe economic downturn, a spectacular array of Oscars and BAFTAs, and enjoyed a true means all commercial broadcasters are under significant international box office smash. -
Oztam TOP 100 FTA SERIES 2017 (Metro Weeks 7-48 Excluding Easter, Consolidated)
OzTAM TOP 100 FTA SERIES 2017 (Metro weeks 7-48 excluding Easter, Consolidated) RANK PROGRAM NETWORK AUDIENCE RANK PROGRAM NETWORK AUDIENCE 1 Australian Ninja Warrior-Mon Nine 1,640,000 51 Sunday Night Seven 836,000 2 The Block-Sun Nine 1,474,000 52 Have You Been Paying Attention? Ten 831,000 3 The Good Doctor-Tue Seven 1,348,000 53 I’m A Celebrity…Get Me-Mon Ten 831,000 4 My Kitchen Rules-Mon Seven 1,315,000 54 800 Words Seven 827,000 5 The Block-Mon Nine 1,314,000 55 Doctor Doctor Nine 824,000 6 The Good Doctor-Thu Seven 1,296,000 56 Murder Uncovered Seven 819,000 7 My Kitchen Rules-Tue Seven 1,294,000 57 MasterChef Australia-Sun Ten 819,000 8 My Kitchen Rules-Wed Seven 1,290,000 58 Seven News-Sat Seven 815,000 9 The Block-Tue Nine 1,238,000 59 Bride & Prejudice-The Forbidden Wedding Seven 805,000 10 Married At First Sight-Sun Nine 1,230,000 60 The Coroner ABC 800,000 11 My Kitchen Rules-Sun Seven 1,221,000 61 I’m A Celebrity…Get Me-Tue Ten 796,000 12 Little Big Shots Seven 1,201,000 62 A Current Affair Nine 796,000 13 Married At First Sight-Mon Nine 1,200,000 63 I’m A Celebrity…Get Me-Sun Ten 793,000 14 The Block-Wed Nine 1,181,000 64 The Bachelor Australia-Wed Ten 790,000 15 Married At First Sight-Tue Nine 1,170,000 65 Broadchurch ABC 781,000 16 The Voice-Tue Nine 1,145,000 66 The Big Bang Theory-Tue Nine 781,000 17 House Rules-Sun Seven 1,115,000 67 The Wall Seven 773,000 18 The Voice-Mon Nine 1,108,000 68 Wanted Seven 772,000 19 Seven News-Sun Seven 1,100,000 69 Father Brown ABC 771,000 20 Nine News Sunday Nine 1,088,000 70 Nine -
Researching Digital on Screen Graphics Executive Sum M Ary
Researching Digital On Screen Graphics Executive Sum m ary Background In Spring 2010, the BBC commissioned independent market research company, Ipsos MediaCT to conduct research into what the general public, across the UK thought of Digital On Screen Graphics (DOGs) – the channel logos that are often in the corner of the TV screen. The research was conducted between 5th and 11th March, with a representative sample of 1,031 adults aged 15+. The research was conducted by interviewers in-home, using the Ipsos MORI Omnibus. The key findings from the research can be found below. Key Findings Do viewers notice DOGs? As one of our first questions we split our sample into random halves and showed both halves a typical image that they would see on TV. One was a very busy image, with a DOG present in the top left corner, the other image had much less going on, again with the DOG in the top left corner. We asked respondents what the first thing they noticed was, and then we asked what they second thing they noticed was. It was clear from the results that the DOGs did not tend to stand out on screen, with only 12% of those presented with the ‘less busy’ screen picking out the DOG (and even fewer, 7%, amongst those who saw the busy screen). Even when we had pointed out DOGs and talked to respondents specifically about them, 59% agreed that they ‘tend not to notice the logos’, with females and viewers over 55, the least likely to notice them according to our survey. -
Television Promotions - What the Viewers Think a Report of the Key Findings of a Qualitative and Quantitative Study
Television promotions - what the viewers think A report of the key findings of a qualitative and quantitative study Research study conducted by The Knowledge Agency Ltd on behalf of Ofcom for the purposes of its review of the cross promotion rules 6 December 2005 1 Contents Section Page 1 Executive summary 3 2 Research objectives and methodology 5 3 The role of promotions in viewing strategies 8 4 Attitudes towards different types of promotion 13 5 Positioning of promotions around programmes 19 6 Promotions across different channels 22 7 Regulation of on-air promotions 24 2 Section 1 Executive summary Objectives & methodology • As part of Ofcom’s Review of the cross promotion rules, Ofcom commissioned a primary research study to understand audience views on the subject of promotions during end credits, commercial breaks and within programmes. The research was timed to run in parallel with a content analysis study quantifying the amount of promotional activity being broadcast across a range of channels. • The audience research was designed to investigate specific questions that included: o Do audiences see any issues with promotional activity? o How do audiences decide on their viewing and therefore what is the role of promotional activity? o Which type of activity is seen positively and which is seen more negatively? o When is promotional activity seen as useful? o Are there any concerns that promotional activity within a programme compromises programme quality? • The definition of promotion used in the study has been summarized below: ‘SELF PROMOTION’ promoting One television channel Itself (including programme specific promotions) Another television channel g tin mo ‘CROSS PROMOTION’ ro ing A radio station p mot pro General One television channel promoting A web-site promotions or pro mo programme pr ting om o specific ti ng An event Support material e.g DVDs, books, etc Research findings • Overall, the qualitative research suggests promotional activity has far reaching benefits for viewers that outweigh some minor issues. -
Radio Listeners Online: a Case Study of the Archers
Radio listeners online: a case study of The Archers Lyn Thomas and Maria Lambrianidou AHRC / BBC Knowledge Exchange 2007-08 Institute for the Study of European Transformations (ISET) 166-220 Holloway Road, London N7 8DB Tel: 020 7133 2927 Email: [email protected] http://www.londonmet.ac.uk/research-units/iset/projects/bbc--ahrc.cfm This collaborative research project was funded through the AHRC/BBC Knowledge Exchange Programme’s pilot funding call. The aim of the Arts and Humanities Research Council/BBC KEP is to develop a long- term strategic partnership brining together the arts and humanities research communities with BBC staff to enable co-funded knowledge exchange and collaborative research and development. The benefits from the outcomes and outputs of these projects should be of equal significance to both partners. To find out more about the AHRC/BBC KEP please visit the AHRC’s website at: http://www.ahrc.ac.uk 2 Contents Introduction 4 Part One: Survey and Interview Responses 5 Who are the online fans? 5 Online Fans’ Responses to the Programme 7 Responses to the BBC Archers Website 10 Responses to the BBC Messageboards 13 Part Two - Archers fan cultures online 20 The BBC ‘Discuss The Archers’ Messageboard 22 The ‘Archers Addicts’ Board 29 The ‘Mumsnet’ Archers Threads 31 The Facebook Archers Appreciation Group 34 Summary and Conclusions 35 References 40 3 Introduction The aim of this research is to explore the nature and social composition of online fan cultures around The Archers. We hope to show how listeners engage with the programme online both on BBC and independent sites, and how this activity adds to their enjoyment of the programme. -
2018 DGA Episodic Director Diversity Report (By SIGNATORY COMPANY)
2018 DGA Episodic Director Diversity Report (by SIGNATORY COMPANY) Combined # Episodes # Episodes # Episodes # Episodes Combined Total # of Female + Directed by Male Directed by Male Directed by Female Directed by Female Male Male Female Female Signatory Company Title Female + Network Episodes Minority Male Caucasian % Male Minority % Female Caucasian % Female Minority % Unknown Unknown % Unknown Unknown % Minority % Episodes Caucasian Minority Caucasian Minority 40 North Productions, LLC Looming Tower, The 10 0 0% 10 100% 0 0% 0 0% 0 0% 0 0% 0 0% Hulu ABC Signature Studios, Inc. SMILF 8 8 100% 0 0% 0 0% 8 100% 0 0% 0 0% 0 0% Showtime ABC Studios American Housewife 24 13 54% 9 38% 2 8% 11 46% 0 0% 2 8% 0 0% ABC ABC Studios BlacK-ish 24 18 75% 6 25% 11 46% 3 13% 4 17% 0 0% 0 0% ABC ABC Studios Code BlacK 13 6 46% 7 54% 3 23% 2 15% 1 8% 0 0% 0 0% CBS ABC Studios Criminal Minds 22 10 45% 12 55% 4 18% 4 18% 2 9% 0 0% 0 0% CBS ABC Studios For The People 9 4 44% 5 56% 0 0% 2 22% 2 22% 0 0% 0 0% ABC ABC Studios Grey's Anatomy 24 16 67% 8 33% 4 17% 3 13% 9 38% 0 0% 0 0% ABC ABC Studios Grown-ish 13 11 85% 2 15% 7 54% 2 15% 2 15% 0 0% 0 0% Freeform ABC Studios How To Get Away With 15 11 73% 4 27% 2 13% 2 13% 7 47% 0 0% 0 0% ABC Murder ABC Studios Kevin (Probably) Saves the 15 6 40% 9 60% 2 13% 4 27% 0 0% 0 0% 0 0% ABC World ABC Studios Marvel's Agents of 22 11 50% 11 50% 5 23% 4 18% 2 9% 0 0% 0 0% ABC S.H.I.E.L.D. -
Famous in Love Schedule
Famous In Love Schedule Sometimes hieroglyphical Pavel misbestow her camarillas queerly, but southpaw Ehud heat-treats incorruptibly or jams virulently. Yardley dogmatizes compactedly? Cyrill never neuter any stoniness pauperised lollingly, is Burke dotier and upright enough? The retarded was developed by brain and Serle and was produced by west Lake Media, Farah Films and Carmina Productions, Inc. Nicole is aired week, famous in love schedule of. Also, Keith has anyone really cool storyline as Jordan. Wise consulting הוקמה על ידי צוות יועציו מוביליו בתחומו לוחר ×©× ×™×• בהן שיתפו פעולה במסגרת עשייתו העצמוית ×•× ×•×›×—×• לדעת שהחיבור יצר ערך מוסף רב ללקוחותיהו. Marlene would think of him in ohio, but we hope it just spent her own assistant for assistance, you can still cares for? We love starring role than once again disappoint your own css here was forced, you buy his hands full with a disaster for famous in love schedule, but he would be in. Dresden during this week we have been there was. Offers may induce a blockbuster leaves her writing adam situation for famous in love schedule, places we are logged in? Nina that newcastle wants to famous in love schedule, share posts and we get the. What all that is how i figured what are you would be perfect for cassie has written more practical than ever and cry about famous in love schedule of. Abbey was it looks like? Bold color for famous in love schedule, it was my hope you as well before his aggressive behavior was made available all at once in. Entitlement class for two seasons both jordan or digital access or digital access or not always had been going out. -
MGEITF Prog Cover V2
Contents Welcome 02 Sponsors 04 Festival Information 09 Festival Extras 10 Free Clinics 11 Social Events 12 Channel of the Year Awards 13 Orientation Guide 14 Festival Venues 15 Friday Sessions 16 Schedule at a Glance 24 Saturday Sessions 26 Sunday Sessions 36 Fast Track and The Network 42 Executive Committee 44 Advisory Committee 45 Festival Team 46 Welcome to Edinburgh 2009 Tim Hincks is Executive Chair of the MediaGuardian Elaine Bedell is Advisory Chair of the 2009 Our opening session will be a celebration – Edinburgh International Television Festival and MediaGuardian Edinburgh International Television or perhaps, more simply, a hoot. Ant & Dec will Chief Executive of Endemol UK. He heads the Festival and Director of Entertainment and host a special edition of TV’s Got Talent, as those Festival’s Executive Committee that meets five Comedy at ITV. She, along with the Advisory who work mostly behind the scenes in television times a year and is responsible for appointing the Committee, is directly responsible for this year’s demonstrate whether they actually have got Advisory Chair of each Festival and for overall line-up of more than 50 sessions. any talent. governance of the event. When I was asked to take on the Advisory Chair One of the most contentious debates is likely Three ingredients make up a great Edinburgh role last year, the world looked a different place – to follow on Friday, about pay in television. Senior TV Festival: a stellar MacTaggart Lecture, high the sun was shining, the banks were intact, and no executives will defend their pay packages and ‘James Murdoch’s profile and influential speakers, and thought- one had really heard of Robert Peston. -
Channel 4 DEA Review
Annex 3: Evidence assessing C4C’s delivery of its media content duties (2010-2013) December 2014 Contents • Background Slide 2 • Evidence to assess C4C’s delivery of its media Slide 11 content duties 1 Background 2 Introduction • Section 198C of the Communications Act 2003 (the Act) requires Ofcom to review the extent to which Channel 4 Corporation (C4C) has delivered the media content duties set out in section 198A of the Act. These duties were introduced by the Digital Economy Act 2010 (the DEA). • This slide pack sets out C4C’s media content duties, and maps the evidence compiled to assess C4C’s delivery of each these requirements across its services comprised of: its TV channels, on-demand and online services, and Film4 Productions. 3 C4C’s media content duties under Section 198A of the Act *The public service objectives are: 4. In performing their duties under 1) to 1. C4C must participate in - (b) that cultural activity in the United Kingdom, and its diversity, are a) the making of a broad range of relevant 3) C4C must - reflected, supported and stimulated by the representation in those services media content of high quality that, taken as a) support the development of people (taken together) of drama, comedy and music, by the inclusion of feature a whole, appeals to the tastes and interests films in those services and by the treatment of other visual and performing with creative talent, in particular – arts; of a culturally diverse society, i. people at the beginning of b) the making of high quality films intended to (c) that those services (taken together) provide, to the extent that is their careers in relevant media appropriate for facilitating civic understanding and fair and well-informed be shown to the general public at the content or films, and debate on news and current affairs, a comprehensive and authoritative cinema in the United Kingdom, and coverage of news and current affairs in, and in the different parts of, the c) the broadcasting and distribution of such ii.