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TESIS: Grand Theft Auto IV. Impacto Y Contexto En Los Videojuegos Como
UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN Grand Theft Auto IV. Impacto y contexto en los videojuegos como parte de la cultura de masas Tesis para obtener el título de: Licenciado en Comunicación PRESENTA David Mendieta Velázquez ASESOR DE TESIS Mtro. José C. Botello Hernández UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Grand Theft Auto IV Impacto y contexto en los videojuegos como parte de la cultura de masas Agradecimientos A mis padres. Gracias, papá, por enseñarme valores y por tratar de enseñarme todo lo que sabías para que llegara a ser alguien importante. Sé que desde el cielo estás orgulloso de tu familia. Mamá, gracias por todo el apoyo en todos estos años; sé que tu esfuerzo es enorme y en este trabajo se refleja solo un poco de tus desvelos y preocupaciones. Gracias por todo tu apoyo para la terminación de este trabajo. A Ariadna Pruneda Alcántara. Gracias, mi amor, por toda tu ayuda y comprensión. Tu orientación, opiniones e interés que me has dado para la realización de cualquier proyecto que me he propuesto, así como por ser la motivación para seguir adelante siempre. -
On Liberty It’S Our Best Best Of
On Liberty It’s Our Best Best of... Issue Ever A guide to the city’s top Sights Entertainment Restaurants Bars Important Health Warning About Playing Video Games Table of Contents Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain 02 Installation visual images, including flashing lights or patterns that may appear in video games. 04 Game Controls Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching 08 Letter from the Editor video games. 10 Places Best Sights These seizures may have a variety of symptoms, including lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, 12 Entertainment Best Place to Chill confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking 14 Restaurants Best Burger nearby objects. 16 Bars Best Brew Immediately stop playing and consult a doctor if you experience any of these 18 Feature Dating in the City symptoms. Parents should watch for or ask their children about the above symptoms—children and teenagers are more likely than adults to experience these 20 Technology Top Gadgets seizures. The risk of photosensitive epileptic seizures may be reduced by taking the following precautions: Sit farther from the screen; use a smaller screen; play in a well- 22 Credits lit room; and do not play when you are drowsy or fatigued. 32 Warranty If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. -
Evolve E-Gaming Index ETF MACROECONOMIC HIGHLIGHTS
SPECIAL COMMENTARY Evolve E-Gaming Index ETF HERO invests in equity securities of companies listed domestically and globally with business activities in the electronic gaming industry. As at March 17, 2020 TICKER: HERO (Hedged) UPDATE: During this pandemic crisis, global equities have fallen nearly 30% since the peak of the markets on February 19th. Companies in the portfolio are less affected by this crisis, as revenue for today’s gaming manufacturers are mainly generated online with digital purchases. In addition, online viewership of e-gaming is expected to grow. Take Two Interactive, the owner of Rockstar’s Grand Theft Auto and NBA 2K games, has recently reported that consumer spending on in-game purchases was up. Take Two Interactive’s online revenue grew 54% YoY. MACROECONOMIC HIGHLIGHTS: The eGaming and eSports world did not go unaffected by the growing reality of coronavirus concerns in February. On February 18, Tencent Esports announced that the top two Honor of Kings competitions – China’s King Pro League (KPL) Spring Split and international tournament KPL Global Tour (KPLGT) Spring Split – would move fully online and not be played in front of live audiences due to the coronavirus outbreak. According to the announcement, the decision was made to avoid gathering massive crowds, and ensure the health and safety of fans, players, and related staff.i Nintendo announced that the coronavirus was likely to disrupt production of the Nintendo Switch, Joy-Con controllers, and Ring Fit Adventure game. 96% of Nintendo, Sony, and Microsoft consoles are made in China.ii Sales data released in February showed, however, that Nintendo Switch sales (both unit and dollar) in January 2020 once again outsold the PlayStation 4 and Xbox One. -
Best Practices Re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean
Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Draft Report on World Best Practices in Legislation, Regulatory Regimes and Incentives Juillet 2009 Best Practices re Regulatory Regimes and Incentives to Develop the Audiovisual Sector in the Caribbean Contrat Nr: 042/2009/WP2/ Project no 28.1-1.048 Cariforum Region By : Yvon Thiec Fernando Labrada Submitted by Altair Asesores S.L. Les opinions exprimées dans ce rapport n’engagent que les auteurs et ne reflètent pas nécessairement celles de la Commission Européenne / The Views expressed in this report do not necessarily reflect the views of the European Commission TABLE OF CONTENTS Executive Summary ........................................................................... 3 I. Foreword ..................................................................................... 7 II. Introduction: Audiovisual regulation for cinema and television programs ........................................................................................ 11 III. The origin of audiovisual regulation ............................................ 13 IV. Quota requirements ................................................................. 15 1. Quota Requirements for theatrical exhibition ............................ 15 1.1. International rules related to quota requirements for theatrical exhibition .................................................................................. 15 1.2. Application of quota requirements for theatrical exhibitions in Western -
Impact Budgets Classic Engagement Activity Evaluation Toolbox
INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING 1.0 2.0 3.0 4.0 5.0 INTRODUCTION PLANNING IMPACT IMPACT EVALUATING IN ACTION DISTRIBUTION Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary Making impact partners Sign on the dotted line Wrapping up INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING PDF • CL LE ICK AB A K BL IC E L P C Use the top D F • and side • F tabs to navigate D P C through! L E I L C B K A A K B C L I E L C P D F • Please don’t print me! IMPACTGUIDE.ORG Get the printable version INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING A set of tools and guides designed to help all of us who are working with film make even greater impact than we do already. Brought to you by: Made possible by: britdoc.org fordfoundation.org | berthafoundation.org | sundance.org | knightfoundation.org -
Provision of VOD Access Services: 2012 Report
Provision of Video on Demand Access Services - 2012 Report - A report on the level of provision by On Demand Programme Service providers of subtitling, audio description, signing and other services for people with disabilities relating to sight or hearing or both Published 28 November 2012 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 2 Contents Executive Summary……………………………………….…. Page 3 Introduction .......................................................................... Page 4 The Questionnaire................................................................. Page 4 The Responses ..................................................................... Page 5 Services for people with disabilities relating to hearing….. Page 6 Services for people with disabilities relating to sight……... Page 9 Platform capabilities……………………………………….......... Page 10 Barriers to provision of access services…………………..... Page 11 Next steps .............................................................................. Page 12 Annex 1: The questionnaire ................................................ Page 13 Annex 2: List of providers asked to respond……..…….. Page 18 The Authority for Television On Demand Limited Registered in England and Wales No. 5137314 Provision of Video On Demand Access Services: 2012 Report 3 Executive Summary As part of ATVOD’s duty to encourage services providers to make their On Demand Programme Services (“ODPS”) more accessible to people with disabilities affecting their sight or hearing, ATVOD conducts an annual survey of current levels of provision of such ‘access services’. The first such report was published in November 2011. This report details the responses we received to our second major survey of regulated service providers which closed on 21 September 2012. ATVOD invited all providers of ODPS to indicate the scale of provision of each type of access service, together with any future plans for access service provision. -
STRANGER by the LAKE Bfi.Org.Uk CONTENTS
INSIGHT REPORT STRANGER BY THE LAKE bfi.org.uk CONTENTS CHAPTER ONE: INTRODUCTION 3 CHAPTER TWO: PLANNING AND RELEASE 6 CHAPTER THREE: REVENUES AND BENEFITS 10 CHAPTER FOUR: OVERALL CONCLUSIONS 16 INTRODUCTION The following report analyses the near day-and-date release by Peccadillo Pictures of French thriller Stranger By The Lake. The report, supported by the New Models strand The results were supplemented by a survey of of the BFI Distribution Fund, sought to answer the Peccadillo’s Facebook and membership email lists, following questions: which resulted in another 140 questionnaires being completed. • What are the advantages or disadvantages for releasing Stranger By The Lake on VOD at the same Industry data: The report uses data from a number of time as cinemas? sources to provide objective analysis of performance, and to provide useful comparisons. Data includes • How do the VOD platforms affect cinema going? theatrical box office results and sales information, • And how does a VOD offer so close to the cinema supplied by Peccadillo. The analysis of this kind of release date affect consumer demand? day-and-date releases are also increasingly informed by knowledge acquired from the Insight Reports from the series of releases supported by the BFI’s 1.1 METHODOLOGY New Models fund. The study relied on evidence from a number Analysis: The conclusions are based on a study of sources: of all the sources of data and interviews with key stakeholders. The expectations and perceptions of Exit Polls: Four exit polls of 117 people were carried performance from the distributor Peccadillo were out at Bristol, London, Cambridge and Manchester, discussed before and after the film. -
THE VIDEO GAME INDUSTRY the Video Game Industry (Often
THE VIDEO GAME INDUSTRY The video game industry (often referred to as interactive entertainment) is the economic sector involved with the development, marketing and sales of video games. It encompasses dozens of job disciplines and employs thousands of people worldwide. Game industry value chain The game industry value chain is made up of six connected and distinctive layers: 1. Capital and publishing layer: involved in paying for development of new titles and seeking returns through licensing of the titles. 2. Product and talent layer: includes developers, designers and artists, who may be working under individual contracts or as part of in-house development teams. 3. Production and tools layer: generates content production tools, game development middleware, customizable game engines, and production management tools. 4. Distribution layer: or the "publishing" industry, involved in generating and marketing catalogs of games for retail and online distribution. 5. Hardware (or Virtual Machine or Software Platform) layer: or the providers of the underlying platform, which may be console-based, accessed through online media, or accessed through mobile devices such as the iPhone. This layer now includes non-hardware platforms such as virtual machines (e.g. Java or Flash), or software platforms such as browsers or even further Facebook, etc. 6. End-users layer: or the users/players of the games.[2] [edit]Disciplines Latest trends in the game industry A fairly recent practice, since the mid-1990s, of the video game industry is the rise of game players as developers of game content. The rise of video game players as fourth-party developers of game content allows for more open source models of game design, development and engineering. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
Hannah-Woolfson-CV
Hannah Woolfson Avid /Premiere/ After FX Profile Hannah is very personable and is a technically skilled and creative editor. Hannah is happy across Avid, FCP, Premiere and basic AFX. She has excellent attention to detail and is calm and reliable in the face of a looming deadline. Equally happy on short form and long form projects, she develops a great rapport with clients and is a pleasure to work with. Long Form Credits “Bling” 4 x 60min. Series 1. Hosted by Gok Wan, the new daytime series delves into the dazzling world of jewellery and beyond; from buying and selling to making and fixing eye-catching pieces. Heart-warming stories abound as excited couples seek that perfect engagement ring, sell a hidden gem such as a delicate pocket watch, fix a much-loved family treasure, or create a one-off bespoke item. TwoFour for ITV “Ainsley’s Good Mood Food” 5 x 60min. Each episode is a sunshine packed journey of joy, with delicious recipes you’ll want to want to try at home, all anchored in Ainsley’s seaside kitchen… his very own ‘happy place’. But that’s not all, the happiest chef on Earth takes the audience on a riotous road-trip across the UK to meet food producers and discover new good-for-the-soul recipes. RockOyster Media for ITV “Gardening With Carol Klein” 4 x 60min. Series 2 & 3. Episodes 2 & 4. From her own garden in Glebe Cottage, Devon, the gardening guru shares her insights on everything from edibles to ornamentals and how plants grow in the wild. -
Rockstar Games Ships Midnight Club II for the Xbox June 4, 2003 9:22
Rockstar Games Ships Midnight Club II For The Xbox June 4, 2003 9:22 AM ET NEW YORK--(BUSINESS WIRE)--June 4, 2003--Rockstar Games, the world-renowned publishing division of Take-Two Interactive Software, Inc. (NASDAQ:TTWO) has shipped Midnight Club II for the Xbox(TM) video game system from Microsoft(TM). Midnight Club II is set to be in stores today in North America and on June 20th in Europe. "We are very excited to bring the intense, high-speed experience of Midnight Club II to the Xbox," said Dan Houser, Rockstar Games' Vice President of Creative. "We believe the game is helping to reinvigorate the racing genre, and that it is poised to become the definitive racing title available on the Xbox. With high-definition and widescreen support, a 4-player split screen mode, Xbox Live compatibility, online rankings and the open-ended, non-linear street racing design that has become its trademark, we believe Midnight Club II is exactly what fans would expect from a racing game developed by Rockstar. The team in San Diego has done an amazing job." Midnight Club II moves racing games from tracks to the city streets. The most notorious drivers meet each night in three of the world's greatest cities - Los Angeles, Paris and Tokyo, driving the latest performance enhanced cars and bikes and competing head-to-head in hopes of making a name for themselves. Now it's your turn. There are no rules. Drive anywhere in the city, find the fastest route, and win the car or bike. -
A Field in England
INSIGHT REPORT A Field In England bfi.org.uk 1 Contents Introduction 3 Executive Summary 4 Section One: Overview 5 Section Two: Planning and Execution 6 Section Three: Results 9 Section Four: Conclusions 14 2 INTRODUCTION The following is the report on the DAY AND DATERELEASEOFA Field In England. It uses a wide range of data to measure performance on all platforms, and tries to address the key questions about the significance of the release. A Field In England was released on 5 July 2013 The conclusions are based on an objective view on cinema screens, DVD, VOD and free terrestrial of the data, interviews both before and after broadcast on Film4. the film’s release, and on experience of the UK distribution and exhibition market. The BFI Distribution Fund supported the release of the project with £56,701, which contributed The report evaluates the performance of an to a P&A spend of £112,000. The total production individual film but it also tries to explain the budget was £316,879. context of the release and to suggest lessons for other films trying similar strategies. This report uses a number of measures to assess the success of the release: s "OXOFFICEREPORTSDAILYFOROPENING weekend, weekly thereafter) s /PENINGWEEKENDEXITPOLLSFROM&IRST-OVIES )NTERNATIONALFOR0ICTUREHOUSECINEMA s $6$"LU 2AYSALES/PENINGWEEKEND s 4ELEVISIONRATINGS s /NLINEMONITORING"RILLIANT.OISEFOR Picturehouse Cinemas) 3 EXECUTIVE SUMMARY sA Field In EnglandISANEXPERIMENTAL GENRE s4HEPRIMARYAUDIENCEWAS!"#n YEARS busting film set in the English Civil War OLD ANDFREQUENTCINEMAGOERSINTHE ANDDIRECTEDBY"EN7HEATLEYDown Terrace, bracket, who might have already been aware Kill List, Sightseers). of Wheatley’s work.