Sommario Rassegna Stampa

Total Page:16

File Type:pdf, Size:1020Kb

Sommario Rassegna Stampa Sommario Rassegna Stampa Pagina Testata Data Titolo Pag. Rubrica Anica Web Quinlan.it 08/02/2021 LA DISTRIBUZIONE DEL RISTORO 2 Rubrica Cinema 24 Avvenire 09/02/2021 A GUADAGNINO E ROSI I PRIMI "NASTRI" 5 8 Buone Notizie (Corriere della Sera) 09/02/2021 "COLT E SPAGHETTI" LA OLLIVUD DI TIZIANO (L.Cerbini) 6 41 Corriere della Sera 09/02/2021 PER GLI OSCAR LA FRANCIA PUNTA SUL REGISTA ITALIANO 8 MENEGHETTI (A.Manieri) 15 Corriere della Sera - Ed. Milano 09/02/2021 "THE MINER": UN FILM PER RICORDARE LE FOIBE (G.Grossini) 10 15 Corriere della Sera - Ed. Roma 09/02/2021 DALL'EDEN AL MIGNON, LA DESOLAZIONE DEI " CINEMA 11 MUTI" (N.Distefano) 14 Domani 09/02/2021 LA TOSSICODIPENDENZA E SANPA NON FINISCONO CON GLI ANNI 12 '80 (V.Roghi) 31 Il Mattino 09/02/2021 ""SPACCIATORE" LA SCENEGGIATA DA STREAMING" (L.Giannini) 14 17 La Gazzetta del Mezzogiorno 09/02/2021 PRIMI NASTRI 2021 A GUADAGNINO E ROSI 15 24 La Stampa 09/02/2021 NUOVO CINEMA SOCIALE (F.Caprara) 16 44 Panorama Icon (Panorama) 01/02/2021 FILM SENZA FESTIVAL (M.Mancuso) 18 Rubrica Audiovisivo & Multimedia 12 Domani 09/02/2021 LA RAI PENSI A PRODURRE NUOVI CONTENUTI PER NON FALLIRE 19 (S.Balassone) 19 Il Messaggero 09/02/2021 DOPO 40 ANNI SU AMAZON RITORNA LO ZOO DI BERLINO (I.Ravarino) 20 23 Il Messaggero 09/02/2021 SUL WEB I NUOVI EPISODI DI SNOOPY, IL BRACCHETTO CHE 22 DOVEVA "MORIRE" (I.Rav.) 18 Italia Oggi 09/02/2021 CHESSIDICE IN VIALE DELL'EDITORIA 23 XVI/II La Gazzetta del Mezzogiorno 09/02/2021 "IO, LA FIGLIA DI IMMA LA MIA VITA NELLA SERIE TV CON LA 24 TENACE TATARANNI" (C.Stragapede) 31 QN- Giorno/Carlino/Nazione 09/02/2021 IL PROFESSORE E LA FUGA IMPOSSIBILE LA QUINTA (E ULTIMA) 26 CASA DI CARTA (B.Berti) 40 Panorama Icon (Panorama) 01/02/2021 IL RITORNO DI HUGH E BRYAN 27 Rubrica Internazionale Web Screenrant.com 09/02/2021 ICARLY SEASONS 1 & 2 STREAMING ON NETFLIX AHEAD OF 28 PARAMOUNT+ REVIVAL - SCREEN RANT AlloCine.Fr 08/02/2021 LA TRAQUE : LA FICTION DE TF1 SUR L'AFFAIRE FOURNIRET EN 30 AVANT-PREMIE'RE SUR SALTO Screendaily.com 08/02/2021 CHINA BOX OFFICE: DETECTIVE CHINATOWN 3 LEADS CHINESE 32 NEW YEAR PRE-SALES Screendaily.com 08/02/2021 SOUL NEARS $100M AT INTERNATIONAL BOX OFFICE; DENZEL 34 WASHINGTON'S THE LITTLE THINGS HITS $13M Variety.com 08/02/2021 ICARLY' FIRST TWO SEASONS NOW STREAMING ON NETFLIX 37 Rubrica Internazionale 1 Financial Times 09/02/2021 EU READY TO FOLLOW AUSTRALIA'S LEAD ON MAKING BIG TECH 39 PAY FOR NEWS 22 Le Monde 09/02/2021 "JE VOIS L'HISTOIRE GOMME UNE SUITE DE CRIMES" (T.Sotinel) 40 12 The New York Times - International 09/02/2021 THE NOT (J.Herrman) 41 Edition 14 The New York Times - International 09/02/2021 A REQUEST TO DISNEY+: MORE ICELANDIC, PLEASE (E.Bjarnason) 43 Edition QUINLAN.IT Data 08-02-2021 Pagina Foglio 1 / 3 Home / Speciali / Editoriali / La distribuzione del Ristoro HOME IN SALA FESTIVAL HOME VIDEO ALTREVISIONI ANIMAZIONE INTERVISTE SPECIALI NOTIZIE EDITORIALI Cerca REGISTI PAESI GENERI Quinlan.it QUINLAN CONSIGLIA Relic di Natalie Erika James Voto: 8 Le Eumenidi Posted 02/08/2021 by Raffaele Meale di Gipo Fasano Voto: 8 Soul di Kemp Powers, Pete Docter LA DISTRIBUZIONE DEL RISTORO Voto: 8 Lo scorso 28 gennaio il MiBACT ha decretato il riparto del fondo di sostegno alle Careless Crime imprese, i cosiddetti “ristori”, per la distribuzione cinematografica. Quello che emerge è di Shahram Mokri un paradosso: gli aiuti sosterranno soprattutto chi ha già avuto modo di incassare, Voto: 8.5 lasciando in estrema difficoltà le realtà più piccole e le meno tutelate. Già il 17 marzo del 2020, con il Paese in lockdown da una settimana, il governo retto da Giuseppe Conte ufficializzava un decreto-legge (convertito poi in legge, con alcune modifiche non sostanziali, il successivo 24 aprile) recante “Misure di potenziamento del Servizio sanitario nazionale e di sostegno economico per famiglie, lavoratori e imprese connesse all’emergenza epidemiologica da COVID-19”. L’articolo 89, in particolar modo, si proponeva il fine di sostenere i settori dello spettacolo, del cinema e dell’audiovisivo, tra i più colpiti dall’espandersi dell’epidemia. Venivano dunque istituiti due Fondi, uno di parte corrente e l’altro in conto capitale, per arginare la sofferenza economica delle imprese che si occupano di spettacolo dal vivo, di cinema e di audiovisivo nel suo complesso. Il 28 gennaio scorso, infine, il MiBACT ha decretato la ripartizione del fondo. La lettura del Decreto Ministeriale pone però delle specifiche che appaiono preoccupanti, e che sembrano andare in controtendenza proprio rispetto alla necessità di aiutare tutte le imprese in difficoltà. Occorre partire, prima di allargare il discorso, dalle due specifiche che introducono le misure scelte dal dicastero gestito da Dario Franceschini (nel toto-ministri che i media rilanciano di giorno in giorno in attesa della sintesi di Mario Draghi nessuno mette in discussione la riconferma dell’esponente del Partito Democratico a Santa Croce in Gerusalemme). Le si riporta qui fedelmente: TENUTO CONTO che la chiusura delle sale cinematografiche disposta 125121 quale misura di contenimento del contagio da Covid-19 ha determinato significative ricadute sulle attività delle imprese di distribuzione cinematografica; Pag. 2 QUINLAN.IT Data 08-02-2021 Pagina Foglio 2 / 3 RITENUTO opportuno prevedere una misura di ristoro delle perdite subite dalle imprese di distribuzione cinematografica in conseguenza della chiusura delle sale cinematografiche; Le premesse non lasciano dunque dubbi sull’indispensabilità di un’azione che tuteli ogni impresa che si occupi di distribuzione, quale che sia il suo peso all’interno dello scacchiere economico. Il primo punto dell’Articolo 1 sembra fare ulteriore chiarezza: «Una quota pari a euro 25 milioni per l’anno 2021del fondo di cui all’articolo 89 del decreto-legge 17 marzo 2020, n. 18, convertito, con modificazioni, dalla legge 24 aprile 2020 n. 27, è destinata al sostegno delle imprese di distribuzione cinematografica». Il secondo punto si muove nella medesima direzione: «Possono presentare domanda di contributo i soggetti con codice ATECO 59.13 che hanno distribuito, dal 20 febbraio 2020 al 31 dicembre 2020 almeno un film di lungometraggio, di qualunque nazionalità, provvisto di nulla osta di proiezione in pubblico di cui alla legge n.161 del 1962 ed uscito in sala cinematografica, così come certificato da idonea documentazione SIAE. Ai fini del presente decreto non sono considerate uscite in sala eventuali passaggi del film in rassegne, festival, anteprime e altre proiezioni speciali nonché diffusioni attraverso fornitori di servizi media audiovisivi ivi incluse, in ogni caso, le piattaforme Tvod e Svod». Il terzo punto dell’Articolo 1 prevede però una specifica che nei fatti annulla le premesse del Decreto: «Ai fini del calcolo del contributo, sono eleggibili i film che hanno ottenuto un incasso pari ad almeno 10.000 euro». Continuando a scorrere il Decreto si può arrivare a comprendere, ma non a condividere, il motivo per cui in modo del tutto burocratico si è deciso di porre una simile soglia d’accesso al fondo straordinario: nell’Articolo 2, dove si entra nel dettaglio dell’assegnazione dei contributi, si legge che le risorse, nei limiti dei già citati 25 milioni, sono ripartite partendo da «una quota fissa pari a euro 15.000 per ciascun beneficiario». Si è dunque calcolato che chi avesse guadagnato meno di tale cifra non potesse esigere un ristoro. Una scelta che non tiene conto, ed è qui che si forma una prima e grave preoccupazione, proprio della natura del fondo speciale. Escludendo nei fatti tutti coloro che non siano stati in grado di guadagnare almeno diecimila euro con la loro uscita in sala nel corso del 2020, si lasciano fuori dal contributo soprattutto le realtà più piccole, quelle che maggiori difficoltà stanno affrontando in questa durissima fase caratterizzata dalle sale chiuse (e sulla tragica situazione degli esercenti si tornerà a ragionare prossimamente). Una volta di più si è scelto dunque di favorire il vertice della piramide, e non la sua base. Nulla di nuovo, purtroppo, ma proprio per questo è doveroso porre l’accento su un errore così grave, e dalle conseguenze potenzialmente letali. Il punto del ragionamento dovrebbe essere quello di aiutare in particolar modo le imprese che non sono state in grado di raggiungere determinati risultati, non escluderle direttamente dal lotto dei pretendenti a un aiuto statale. Coloro che hanno portato in sala i loro film nel periodo di riapertura, quando le major avevano chiuso i condotti d’aria, sono proprio i piccoli distributori, che hanno cercato di venire incontro alla richiesta di esercenti altrettanto disperati ma desiderosi di riaprire l’attività. È un paradosso difficile da accettare quello che prevede che chi più di ogni altro ha provato a tenere vivo l’interesse per il cinema – per di più proponendo spesso opere non nazional popolari, già normalmente a rischio nell’incontrare i favori del grande pubblico – venga ora declassato, al punto da vedergli negato perfino il diritto al Ristoro. Il secondo punto dell’Articolo 2 pone un’ulteriore disparità di trattamento, altrettanto iniqua: «La Direzione generale Cinema e audiovisivo assegna a ciascun beneficiario un punteggio calcolato per ciascun film eleggibile, secondo quanto previsto dall’articolo 1, commi 2 e 3, assegnando 10 punti per ogni 10.000 euro di incasso in sala». Dunque non solo chi non ha avuto in sorte di raggiungere 10.000 euro di incasso non può neanche fare richiesta di aiuti economici – di fatto sottolineando, da parte dello Stato, come non si tratti di una perdita così ingente da meritare attenzione – ma al contrario chi è riuscito a incassare di più (ovviamente le case di distribuzione già più forti sul mercato, 125121 e dominanti) ha addirittura diritto a un maggior Ristoro da parte del governo.
Recommended publications
  • Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S
    Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Prepared by Orange Silicon Valley SG/OSV April 5, 2016 Orange Silicon Valley | April 5, 2016 1 Contents 4 Key Takeaway 6 Recommendation: 8 Origin of the Big Content Shift 8 1. New Behaviors -> Transitioning from one form of distribution to another 8 The continuous decline of linear TV 10 The Cort Cutters 11 Economics of Content 12 Mobile Mobile Mobile 14 New Content - the rise of the new creators 15 New Content Approach 16 New Monetization Approach 17 US TELCO RESPONSE 19 Rise of New Studios and New Media Companies 29 Telco and Cable Operator Initiatives 34 Conclusions Orange Silicon Valley | April 5, 2016 2 Evolution of the Video Content Business in the Era of Mobile and Social Networks in the U.S. Key Takeaways • Video consumption behaviors are shifting. Live linear TV remains the primary way video content is being consumed but is losing its relevance to over-the-top services such as Netflix, Hulu or Amazon, that are offering consumers access to “Whatever” content they want, “Whenever,” and “Wherever” they want it. • Cracks are appearing in the traditional content distribution model amidst an explosion in mobile-centric content consumption. Content consumption is growing as well as content acquisition cost. • TV is even less relevant to the newer generation of consumers, the millennials (being born from early 1980s to around 2000) and generation Z (being born from early 2000s to 2010), who use primarily smartphones to access video content. • Smartphone users 24 and younger use an average of 6.2 GB of data (cellular and WiFi combined) every month for video streaming versus older smartphone users that use an average of 4.9 GB of data per month.
    [Show full text]
  • Viacom Boosts Direct-To-Consumer Pitch with $340 Million Acquisition
    Publication date: 24 Jan 2019 Author: Kia Ling Teoh Senior Research Analyst, Advertising and Television Media Viacom boosts direct- to-consumer pitch with $340 million acquisition of Pluto TV Brought to you by Informa Tech Viacom boosts direct-to-consumer pitch with 1 $340 million acquisition of Pluto TV Viacom has revealed its intentions to go direct-to-consumer via the acquisition of ad-supported streaming service Pluto TV. The deal is worth a reported $340m and will see Pluto TV operate as an independent subsidiary of Viacom. The transaction is expected to close in the first quarter of 2019. Viacom is the owner of MTV, Comedy Central, Nickelodeon and Paramount Pictures. In 2017, it reported annual revenues of $13 billion from media networks and filmed entertainment businesses. Pluto TV was founded in 2013 and had received several rounds of funding from investors including broadcasters ProsiebenSat.1 and Scripps Networks in 2016. Our analysis The acquisition came at a time when Viacom’s media networks advertising revenues were under pressure. Nearly half of its media networks revenues are advertising and in the first nine months of 2018, advertising revenues dropped 3.5% year-on-year from $3.57 billion to $3.44 billion, largely due to lower linear impressions. The ad-supported streaming market is becoming intensely competitive, with each player trying to counter the influence of global giants Google and Facebook as advertising budgets continue to focus more on cross- border growth. Alongside Awesomeness TV, the youth-targeted video service Viacom acquired in July 2018, Pluto TV will complement Viacom’s advertising strategy.
    [Show full text]
  • [WATCH] Shock Wave 2
    [WATCH] Shock Wave 2 (2020) Online Movie Full Version ||HD 5 sec ago Don’t miss!~NITFLIX~! Where to Watch Shock Wave 2 Online Free? [DVD-ENGLISH] Shock Wave 2(2020) Full Movie Watch online free HQ [DvdRip-USA eng subs ]] Shock Wave 2! (2020) Full Movie Watch #Shock Wave 2 online free 123 Movies Online !! Shock Wave 2 (2020) | Watch Shock Wave 2 Online (2020) Full Movie Free HD.720Px|Watch Shock Wave 2 Online (2020) Full MovieS Free HD Google Drive!! Shock Wave 2 (2020)with English Subtitles ready for download,Shock Wave 2 (2020) 720p, 1080p, BrRip, DvdRip, High Quality. Watch Shock Wave 2 Google Drives Online Free HD Streamnow ➡ https://movie-bluray.com/movie/559974/shock-wave-2.html Title : Shock Wave 2 Release : 2020-12-24 Rating : 7.6/10 by 5 Runtime : 120 min. Companies : Country : China, Hong Kong Language : 广å·è¯ / 廣å·è©± ​ ​ ​ Genre : Action, Crime Stars : Andy Lau, Lau Ching-Wan, Ni Ni, Tse Kwan-Ho, Marc Ma, Philip Keung Overview : When a bomb went off unexpectedly during a police operation to disarm it, bomb disposal officer Poon Shing-Fung got caught in the blast and lost one of his legs. Poon decided to leave the police service. Three years later, the police suspect Poon, who was found in a coma at the spot of a terrorist bombing attack, of being involved in several bombing attacks in the past two years. Poon can hardly remember his past and even his own identity due to post-traumatic amnesia. He plans to escape to find out the truth.
    [Show full text]
  • Shock Wave 2 (Mand) Cast: Director: Genre: Action, Adventure Andy Lau 刘德华, Sean Lau 刘青云, Ni Ni 倪妮 Herman Yau 邱礼涛 Rating: TBA 拆弹专家 2
    Golden Village Pictures 2020-21 Movie Lineup DECEMBER Shock Wave 2 (Mand) Cast: Director: Genre: Action, Adventure Andy Lau 刘德华, Sean Lau 刘青云, Ni Ni 倪妮 Herman Yau 邱礼涛 Rating: TBA 拆弹专家 2 24 December 2020 Synopsis: A series of bomb explosions have been occurring in Hong Kong, causing fear amongst the public. Former bomb disposal officer Poon Sing-fung (Andy Lau) fell into a coma at a crime scene injured in an explosion and becomes top wanted criminal after the police suspects of his ties with the criminal organisation, the Resurrection Group. After waking up from his coma, Poon was interrogated and imprisoned. Poon escapes from prison in order to investigate the truth and prove his innocence. On his lonely and helpless road, Poon enlists the help of his comrade in arms, bomb disposal officer Tung Cheuk-man (Sean Lau). However, the two fall into a conflict of black and white as Tung must choose between justice and friendship. Tung decides to choose the latter and assists his friend. At the same time, Poon's ex-girlfriend, Pong Ling (Ni Ni), who is now the chief inspector of the Counter Terrorism Response Unit, desperate to discover the culprit behind the series of explosions, persuades Poon to come in contact with the Resurrection Group to find out this mysterious organisation's next terrorist move and prove his innocence. Poon realises that exposing the truth is just as challenging as disposing explosives, risking his life as he races against time. The Rescue (Mand) Cast: Director: Genre: Action Eddie Peng 彭于晏, Wang Yanlin 彭于晏, Xin Zhilei 辛芷蕾 Dante Lam 林超贤 Rating: TBA 紧急救援 Synopsis: 31 December 2020 A rescue unit within the Chinese Coast Guard are forced to overcome their personal differences to resolve a crisis.
    [Show full text]
  • Dave Lougee, President and CEO, TEGNA, Inc
    Participant Biographies Ty Ahmad-Taylor, Vice President, Business Product Marketing, Facebook, Inc. As Vice President of Business Product Marketing, Ty leads Facebook’s monetization strategy and global go-to- market efforts for products that connect people and businesses on the platform. Prior to Facebook, Ty served as CEO of THX Ltd., a global media and entertainment company. Ty brings to Facebook 25+ years of information design, 20+ years of consumer-facing software and product development leadership, along with interactive television services development experience. Ty has a diverse portfolio of technology and hardware patents, and has held roles at several startups and large media and consumer electronic companies, including Viacom, Comcast, The New York Times, and Samsung. Kevin Arrix, Senior Vice President, DISH Media Kevin Arrix, Senior Vice President of DISH Media Sales, is responsible for DISH TV’s and Sling TV’s advertising sales, analytics and operations. He leads the team spearheading the company’s advanced advertising initiatives, which include cross-platform addressable, programmatic sales and dynamic ad insertion. Arrix is a seasoned revenue executive with 20+ years of experience leading Sales, Operations, Client Services and Strategy teams. He is a recognized thought-leader fluent in the various disciplines of digital and mobile advertising and marketing. Prior to joining DISH in 2018, Arrix served as Chief Revenue Officer of Verve, leading the mobile marketing platform’s Direct and Enterprise sales, customer success and advertising operations teams. Prior to Verve, Arrix served as Chief Revenue Officer at mobile rewards entertainment platform Viggle, where he arrived prior to product launch to build out the sales team, the operational infrastructure and revenue foundation.
    [Show full text]
  • Celeb Secrets Media
    Celeb Secrets is a digital organization specializing in entertainment. About The media outlet covers breaking news in verticals such as culture, celebrity, fashion, lifestyle, movies, music, politics, sports, and television, making it a one-stop shop for its Millennial and Gen Z the Site audience. The organization also has a website specifically catered to Country news titled Celeb Secrets Country and a YouTube channel, CelebSecretsTV. Our Audience 54.5K+ | 38M+ 50K+ 42K+ 23K+ Age Interests 13-17 Digital & Tech Festivals 35-44 13.1% 10.5% 12.2% 17.3% Beauty & Fashion 11% Travel 11.7% Sports 9.4% Music 25-34 11.9% 26.6% 18-24 Gossip 10.6% 43% Awards Movies & TV 11.6% 11.1% 4 0 8 - 8 0 0 - 2 7 4 8 • c e l e b s e c r e t s . c o m • @ c e l e b s e c r e t s Celeb Secrets Country Celeb Secrets Country sticks to Celeb Secrets' core values, country style. Covering the biggest talent of today and tomorrow, the special vertical features news, exclusive interviews and more. @celebsecretscountry celebsecretscountry.com CelebSecretsTV Celeb Secrets houses over 2,000 short-form videos on their YouTube channel, CelebSecretsTV. Featuring top-tier talent, daily videos include red carpet interviews, exclusive movie, television, sports, and music festival coverage as wells as chats with celebrities at either The YouTube Space or on- location. 54.5K+ subscribers 38M+ views 500K+ monthly visitors @celebsecrets4u About the Owner Created by Juliet Schroder in 2010 at the age of fifteen, the organization has become one of the fastest rising media outlets in its niche, making the homemade project become a bi-coastal business that’s had representation at high-profile media events in North America.
    [Show full text]
  • Estado Diario Subdirección De Marcas 20/05/2021 1
    Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1355767 AZ Y COMPAÑÍA, en representación de Monster Mixta M MONSTER ENERGY CARES Energy Cares 1374851 CLAUS KREBS POULSEN, en representación de Denominativa TIME TO ROLL OXYGENTRACK LLC 1375493 JOHANSSON & LANGLOIS, en representación de Mixta Vital Spaces Sodexo SODEXO 1375693 CARLA ANDREA JACQUELINE MUÑOZ SILVA, Mixta M MUSIL INGENIERIA Y en representación de INGENIERÍA Y CONSTRUCCIÓN CONSTRUCCIÓN MUSIL LIMITADA 1384587 CHRISTIAN GUSTAVO ERNST SUÁREZ, en Denominativa MYSTERY.ORG representación de MYSTERY ORGANIZATION, INC. 1385862 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385863 CLAUS KREBS POULSEN, en representación de Figurativa Apple Inc. 1385984 CLAUS KREBS POULSEN, en representación de Mixta SONGS for LIFE Apple Inc. 1387395 JUAN ALBERTO LUCIANO DÍAZ WIECHERS, en Mixta QG QATARGAS representación de Qatargas Operating Company Limited 1388637 ESTUDIO CAREY LTDA., en representación de Mixta b: Bazaarvoice, Inc. 1390799 Jacqueline Magaly Cornejo Calderón, en Mixta SINDICATO NACIONAL DE representación de Sindicato Interempresa TRABAJADORES DE LA Nacional de Trabajadores de la Construccion CONSTRUCCION, MONTAJE Y OTROS Montaje y Otros SINTEC -CHile SINTEC CHILE 1396145 MAX FELIPE CANALES CASTRO, en Mixta Alto Impacto representación de MTK Spa 1396759 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1396761 SARGENT & KRAHN, en representación de Denominativa NATURECAN NATURECAN LTD 1 Estado Diario Subdirección de Marcas 20/05/2021 Sección M1: Observaciones de Forma Solicitud Representante Tipo signo Marca Observaciones 1396821 Tomislav Marcelo Vucina Martínez, en Denominativa MEIER representación de Francisco José Rodríguez Lifschitz 1397552 NAYAT SANCHEZ PI, en representación de Inria Denominativa MAIA Chile 1398347 LUCY LORENA ESPINA FERNÁNDEZ Mixta Lorena Pastelería S.A.
    [Show full text]
  • FEFF 23 Will Be Taking Place in Udine and Online from Thursday 24 June to Friday 2 July
    2 3 PRESS RELEASES FILM STILLS & FESTIVAL PICS VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 20 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/347/0950890 [email protected] - [email protected] 4 24 June/2 July 2021 - Udine, Italy, Visionario & Cinema Centrale FAR EAST FILM FESTIVAL 23: MOVING FORWARD! 63 titles from 11 countries and regions: the proof of a cinema industry that is back on its feet and looking to the future. FEFF 23 will be taking place in Udine and online from Thursday 24 June to Friday 2 July. Press release for 9 June, 2021 For immediate publication/release UDINE – A throwdown is when you get knocked to the ground. It's an action, and even more a state of mind, that inspired one of Johnnie To's masterpieces and which perfectly captures the dynamics - social, political, health and emotional - of the last year and a half. There's no need to go over why - what we need, what we really need, is to stay focused on the "after" part. The action, and even more so the state of mind, that every throw down triggers: that instinct to get back up. The instinct to not stay down there, where the body blows of history have made us fall. That's the idea - we might even call it the operational philosophy - behind the Far East Film Festival 23: documenting the “after”. Showing a world, the world of Asian cinema, which refuses to resign itself to immobility and is intent on getting back on its feet again..
    [Show full text]
  • “Decreasing World Suck”
    Dz dzǣ Fan Communities, Mechanisms of Translation, and Participatory Politics Neta Kligler-Vilenchik A Case Study Report Working Paper Media, Activism and Participatory Politics Project AnnenBerg School for Communication and Journalism University of Southern California June 24, 2013 Executive Summary This report describes the mechani sms of translation through which participatory culture communities extend PHPEHUV¶cultural connections toward civic and political outcomes. The report asks: What mechanisms do groups use to translate cultural interests into political outcomes? What are challenges and obstacles to this translation? May some mechanisms be more conducive towards some participatory political outcomes than others? The report addresses these questions through a comparison between two groups: the Harry Potter Alliance and the Nerdfighters. The Harry Potter Alliance is a civic organization with a strong online component which runs campaigns around human rights issues, often in partnership with other advocacy and nonprofit groups; its membership skews college age and above. Nerdfighters are an informal community formed around a YouTube vlog channel; many of the pDUWLFLSDQWVDUHKLJKVFKRRODJHXQLWHGE\DFRPPRQJRDORI³GHFUHDVLQJZRUOGVXFN.´ These two groups have substantial overlapping membership, yet they differ in their strengths and challenges in terms of forging participatory politics around shared cultural interests. The report discusses three mechanisms that enable such translation: 1. Tapping content worlds and communities ± Scaffolding the connections that group members have through their shared passions for popular culture texts and their relationships with each other toward the development of civic identities and political agendas. 2. Creative production ± Encouraging production and circulation of content, especially for political expression. 3. Informal discussion ± Creating and supporting spaces and opportunities for conversations about current events and political issues.
    [Show full text]
  • WICT Pulse: the Inside Scoop on Educational Opportunities & More
    Click here to view this email in your web browser In this issue: NEWS FROM WICT GLOBAL WICT Celebrates 40 Years at the Signature Luncheon Nominate Outstanding Leaders for WICT's 2019 Woman of the Year and Woman to Watch Awards Meet the 2019 Rising Leaders EDUCATIONAL OPPORTUNITIES Registration Open for the 2019 WICT Leadership Conference 2019 Betsy Magness Graduate Institute: Join Us in Atlanta this November WICT SHINES ONLINE Access Members' Only Resources in WICT's Online Learning Library Help Your Colleagues Shine by Sharing www.wictnow.org ADVOCACY & INDUSTRY RELATIONS WICT's #LeadWithMore PSA Campaign Continues Through June 4 Adaptive Spirit Silent Auction Cable Hall of Fame Dinner 2019 WICT Signature Luncheon Thursday, May 2 | 12:00 pm | The Plaza Hotel New York The excitement is building as we prepare for the Signature Luncheon next month in New York! We will convene to honor the past, celebrate the present and imagine the future of WICT and the industry we represent. WICT has built on the strong foundation laid by its early leaders to become an organization that encompasses more than 10,500 members in 24 chapters worldwide, including the U.K., Latin America and Europe. WICT is the largest and oldest professional association serving women in media, representing the industry's most influential stakeholders. To help mark the occasion, we have invited some of our favorite Pearls of Wisdom speakers from the past to return and share their latest insights with us, including Kimberly Brooks, Abbe Raven and Egypt Sherrod. Tables and tickets are sold out, but you can learn more about the event by visiting our website.
    [Show full text]
  • INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr.
    [Show full text]
  • Annual Report 2015 Entertain. Inform. Engage
    Annual Report 2015 Entertain. Inform. Engage. Key fi gures SHARE PRICE PERFORMANCE 30/04/2013 – 31/12/2015* + 42.7 % )RTL GROUP + 54.5 % MDAX + 48.1 % DJ STOXX 600 INDEX = 100 * RTL Group shares have been listed in the Prime Standard of the Frankfurt Stock Exchange since 30 April 2013. RTL GROUP REVENUE SPLIT In 2015, TV advertising accounted for 49.4 per cent of RTL Group’s total revenue, making the Group one of the most diversified groups when it comes to revenue. Content represented 22 per cent of the total, while greater exposure to fast-growing digital revenue streams and higher margin platform revenue will further improve the mix. 11.8 % OTHER 8.4 % DIGITAL 49.4 % TV ADVERTISING 22.0 % CONTENT 4.1 % PLATFORM REVENUE 4.3 % RADIO ADVERTISING Key fi gures REVENUE 2011 – 2015 (€ million) EBITA 2011 – 2015 (€ million) 15 6,029 15 1,167 14 5,808 14 1,144* 13 5,824* 13 1,148** 12 5,998 12 1,078 11 5,765 11 1,134 * Restated for IFRS 11 * Restated for changes in purchase price allocation ** Restated for IFRS 11 NET PROFIT ATTRIBUTABLE TO RTL GROUP SHAREHOLDERS 2011 – 2015 (€ million) EQUITY 2011 – 2015 (€ million) 15 789 15 3,409 14 652* 14 3,275* 13 870 13 3,593 12 597 12 4,858 11 696 11 5,093 * Restated for changes in purchase price allocation * Restated for changes in purchase price allocation TOTAL DIVIDEND/ MARKET CAPITALISATION* 2011 – 2015 (€ billion) DIVIDEND YIELD PER SHARE 2011 – 2015 (€ )(%) 15 11.9 15 4.00* 4.9 14 12.2 14 5.50** 6.8 13 14.4 13 7.00*** 10.0 12 11.7 12 10.50 13.9 11 11.9 11 5.10 6.6 * As of 31 December * Including
    [Show full text]