Annual Report 2010
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Gmm Grammy Public Company Limited | Annual Report 2013
CONTENTS 20 22 24 34 46 Message from Securities and Management Board of Directors Financial Highlights Chairman and Shareholder Structure and Management Group Chief Information team Executive Officer 48 48 48 50 52 Policy and Business Vision, Mission and Major Changes and Shareholding Revenue Structure Overview Long Term Goal Developments Structure of the and Business Company Group Description 82 85 87 89 154 Risk Factors Management Report on the Board Report of Sub-committee Discussion and of Directors' Independent Report Analysis Responsibility Auditor and towards the Financial Financial Statement Statements 154 156 157 158 159 Audit Committee Risk Management Report of the Report of the Corporate Report Committee Report Nomination and Corporate Governance Remuneration Governance and Committee Ethics Committee 188 189 200 212 214 Internal Control and Connected Corporate Social Details of the General Information Risk Management Transactions Responsibilities Head of Internal and Other Audit and Head Significant of Compliance Information 214 215 220 General Information Companies in which Other Reference Grammy holds more Persons than 10% Please see more of the Company's information from the Annual Registration Statement (Form 56-1) as presented in the www.sec.or.th. or the Company's website 20 ANNUAL REPORT 2013 GMM GRAMMY Mr. Paiboon Damrongchaitham Ms. Boosba Daorueng Chairman of the Board of Directors Group Chief Executive Officer …As one of the leading and largest local content providers, with long-standing experiences, GMM Grammy is confident that our DTT channels will be channels of creativity and quality, and successful. They will be among favorite channels in the mind of viewers nationwide, and can reach viewers in all TV platforms. -
NO. Title Artist Label 1 04.00 the Toys What the Duck 2 ๙
NO. Title Artist Label 1 04.00 The Toys What The Duck 2 ๙ ประกาศิต แสนปากดี (ต่าย อภิรมย์) อิสระ 3 747 PC 0832/676 อิสระ 4 1917 Summer Dress Panda Records 5 1984 Secret Tea Party อิสระ 6 134340 The Photo Sticker Machine feat. ริค วชิรปิลันธน์ อิสระ 7 #ขอโทษจริงๆ Basket Band อิสระ 8 #คนเหงา2018 ปนัสฐ์ นาครําไพ (Point) feat. มารุต ชื�นชมบูรณ์ (Art) SRP 9 #ความรักก็เช่นกัน อภิวัชร์ เอื�อถาวรสุข (Stamp) Love iS 10 #อย่าให้ฉันคิด Room 39 Love is Bec Tero Music 11 (๑) ดูดาว / Stargazing วิมุตติ Bird Sound Record 12 (Intentional) Fall The 10th Saturday Five Four Draft 13 (อย่าทําให้ฉัน) ฝันเก้อ วิตดิวัต พันธุรักษ์ (ต็อง) feat. วินัย พันธุรักษ์ Warner Music 14 ... (Reset) อินธนูและพู่ถุงเท้า Minimal Records 15 … ก่อน Supersub สนามหลวง 16 0.5 sec. PC 0832/676 อิสระ 17 04.00 A.M. Solitude Is Bliss Minimal Records 18 04.00 A.M. [Light Version] Solitude Is Bliss Minimal Records 19 1.9 มิติ Two Million Thanks SO::ON Dry Flower 20 11.15 AM Parim Comet Record 21 12/12 (Once) [No Signal Input 5] Sirimongkol No Signal Input 22 13 ตุลา หนึ�งทุ่มตรง ธเนศ วรากุลนุเคราะห์ อิสระ 23 16090 / หมื�นไมล์ TELEx TELEXs Wayfer Records 24 18+ / สิบแปดบวก Chanudom feat. ธนิดา ธรรมวิมล (ดา Endorphine) What The Duck 25 201.1 KM. สิริพรไฟกิ�ง Summer Disc 26 213 [คณะlพวงlรักlเร่] ประกาศิต แสนปากดี (ต่าย อภิรมย์) อิสระ 27 -30 (Minus Thirty) X0809 อิสระ 28 30 กุมภาพันธ์ / febuary [No Signal Input 5] Sirimongkol No Signal Input 29 30+ แล้วไง? พุทธธิดา ศิระฉายา (อี�ฟ) สหภาพดนตรี 30 ๓๖๐ องศา Sitta อิสระ 31 365 วันกับเครื�องบินกระดาษ BNK48 BNK48 32 3rd Cloud Behind อิสระ 33 4388 (So Long) เจี�ยป้าบ่อสื�อ อิสระ 34 5 O' Clock Away The Ways อิสระ 35 500 กม. -
Deborah's M.A Thesis
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS Created in its own sound: Hearing Identity in The Thai Cinematic Soundtrack Deborah Lee National University of Singapore 2009 Acknowledgements Heartfelt thanks goes out to the many people that have helped to bring this thesis into fruition. Among them include the many film-composers, musicians, friends, teachers and my supervisors (both formal and informal) who have contributed so generously with their time and insights. Professor Rey, Professor Goh, Prof Irving, Prof Jan, Aajaarn Titima, Aajaarn Koong, Aajaarn Pattana, I really appreciate the time you took and the numerous, countless ways in which you have encouraged me and helped me in the process of writing this thesis. Pitra and Aur, thank you for being such great classmates. The articles you recommended and insights you shared have been invaluable to me in the research and writing of my thesis. Rohani, thanks for facilitating all the administrative details making my life as a student so much easier. Chatchai, I’ve been encouraged and inspired by you. Thank you for sharing so generously of your time and love for music. Oradol, thank you so much for the times we have had together talking about Thai movies and music. I’ve truly enjoyed our conversations. There are so many other people that have contributed in one way or the other to the successful completion of this thesis. The list goes on and on, but unfortunately I am running out of time and words…. Finally, I would like to thank God and acknowledge His grace that has seen me through in the two years of my Masters program in the Department of Southeast Asian Studies. -
Cinema Diverse 2013
วันเสารที่ 19 กรกฎาคม 2557 / Saturday 19 July 2014 จิระ มะลิกุล Jira Maligool / Autumn Spring (Czech Republic, 2001) Autumn Spring (สาธารณรัฐเช็ก 2001) กํากับภาพยนตรโดยวลาดิเมียร มิคาเลค Autumn Spring เปนภาพยนตรตลกเสียดสีเคลาน้ําตา กํากับโดยวลาดิเมียร มิคาเลค และนําแสดงโดย วลาสติมิล บรอดสกี้ (Closely Watched Trains และ Jacob the Liar) ในบทฟานดา ชายชราอดีตนักแสดงละครเวทีที่ยังรักความสนุกสนาน เหมือนเด็กไมยอมโต ฟานดาไมอยากคิดถึงสังขารที่กําลังรวงโรยลงทุกขณะ และไมยอมคิดถึง ‘ความตาย’ ทั้งที่ก็รูอยูเต็มหัวใจ วา มันกําลังจะเดินทางมาถึงในอีกไมชาไมนานนี้แลว แมวาเอมิลลี่ภรรยาและจาราลูกชายของเขาจะพยายามพร่ําบนใหเขาเลิก ทําตัวเปนเด็ก ๆ ก็ตาม ฟานดาก็ไมสนใจ และยังคงสนุกสนานกับการปลอมตัว สวมบทบาทเปนคนอื่น ปนหัวชาวบานไป เรื่อย ๆ ฟานดามีเพื่อนสนิทที่เคยรวมแสดงละครดวยกันคือเอดา คูหูวัยเฉียด 200 คูนี้ มักจะสุมหัวกันวางแผนคิดหาสารพันวิธีเพื่อ หยอกเยากลั่นแกลงคนอื่นอยูเสมอ พวกเขาจะแกลงสวมบทบาทไปเรื่อย ๆ วันหนึ่งอาจจะปลอมตัวเปนนักรองโอเปราชื่อดังที่ กําลังอยากหาซื้อบานในชนบท อีกวันอาจจะเปนพนักงานตรวจบัตรโดยสารรถไฟ แตแมวาจะหงุดหงิดแคไหน ลึก ๆ แลวเอมิล ลี่ก็รักเขาและรูดีวาอยางนอยชีวิตคูกับฟานดาก็ไมเคยนาเบื่อ แตความอดทนของเธอก็ถึงจุดสิ้นสุด เมื่อฟานดาแกลงตาย เอมิล ลี่ขอหยา แตในที่สุดทั้งคูก็เขาใจวาเขาทําไปเพราะอะไร แทนที่จะมัวนั่งกังวลถึงวันตายของตัวเอง บางทีชวงเวลาบั้นปลายชีวิต อาจจะเปนชวงเวลาที่เราควรจะละทิ้งความกังวลทั้งหมดและใชวันเวลาที่มีเหลืออยูใหเต็มที่ Autumn Spring เปนภาพยนตรที่ทั้งตลกและเศราในเวลาเดียวกัน หนังพูดถึงการเผชิญหนากับความชราภาพ ชีวิตคู มิตรภาพ และการใชชีวิตใหคุมคาที่สุด ภาพยนตรเรื่องนี้เปนการแสดงครั้งสุดทายของวลาสติมิล บรอดสกี้ หนึ่งในตํานานนักแสดงของ -
Festivalul De Film Asiatic / Asian Film Festival
FESTIVALUL DE FILM ASIATIC / ASIAN FILM FESTIVAL Ediția a 4-a, București 19–28 Iunie 2009 / 4th Edition, Bucharest, 19–28 June 2009 ple şi un gol în peisajul cultural românesc. FestASIA’S NOT DEAD! FestASIA există în mare măsură datorită prieteni- lor de la Ogilvy, al căror ajutor a venit atunci când mai existau puţine şanse ca FestASIA să reînvie. Sloganul acestei ediţii este A Totally Different Ex- perience for the Eye, tot vizualul Ogilvy fiind con- ceput în jurul temei OCHI. Astfel încât ce poate fi mai potrivit anul acesta decât prezentarea După nenumărate amânări şi anulări, a IV-a ediţie trilogiei cult a fraţilor Danny şi Oxide Pang – The a unui festival neiubit de autorităţi, dar foarte iubit Eye? Poate doar descoperirea a două filmuleţe de public, va avea loc în Bucureşti. scurte cu OCHI scoşi: The Perfect Red Snapper Fish şi A Chalk, ambele venite de la Universitatea FestASIA este, deci, un festival punk. Şi asta nu Naţională de Arte din Coreea de Sud. doar pentru că a pornit cu buget zero, ci şi pentru 2 că, luptându-se cu aproape toată lumea, reuşeşte Focus Thailanda e unul din vârfurile ediţiei de anul 3 să supravieţuiască. Mai mult, continuă să îşi spo- acesta, cu patru lung-metraje şi patru scurt-me- rească numărul de spectatori şi de admiratori. traje în selecţie, iar în secţiunea Panorama puteţi vedea filme recente, prezentate la festivaluri mari FestASIA este singurul festival de film asiatic din din întreaga lume. Pe lângă acestea – secţiunile această parte a Europei. Filmul asiatic are un obişnuite: ShortASIA şi AnimASIA. -
DORISEA WP 23 Ainslie Thai Horror Film in Malaysia-2.Pdf (594.9Kb)
Competence Network DORISEA – Dynamics of Religion in Southeast Asia 1 DORISEA WORKING PAPER ISSUE 23, 2016, ISSN: 2196-6893 MARY J. AINSLIE THAI HORROR FILM IN MALAYSIA URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL 23 DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 DORISEA WORKING PAPER SERIES EDITORS Peter J. Bräunlein Michael Dickhardt Andrea Lauser Competence Network “Dynamics of Religion in Southeast Asia” (DORISEA) The research network “Dynamics of Religion in Southeast Asia” (DORISEA) connects scholars from various academic institutions focused on Southeast Asia. It is coordinated by the Department of Social and Cultural Anthropology at the Georg-August-University of Göttingen. Its core is formed by scholars from the Universities of Göttingen, Hamburg, Münster, Heidelberg and Berlin (Humboldt University) who are involved in several projects that investigate the relationship between religion and modernity in Southeast Asia. How to cite this paper: Mary J. Ainslie (2016): Thai horror film in Malaysia. Urbanization, Cultural Proximity and a Southeast Asian model. In: DORISEA Working Paper Series, No. 23. Göttingen: Institute for Social and Cultural Anthropology. DOI: 10.3249/2196-6893-dwp-23 © 2016 by the author This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. http://creativecommons.org/licenses/by-nc/4.0 ISSN: 2196-6893 DOI: 10.3249/2196-6893-dwp-23 Research Network DORISEA Dynamics of Religion in Southeast Asia Project Office Georg-August-University Göttingen Institute of Social and Cultural Anthropology Theaterstr. 14 D - 37073 Göttingen Germany FUNDED BY: [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3 MARY J. -
NEWS Sentosa Spooktacular Ropes in Thailand's Leading Film Studio To
PRESS RELEASE Sentosa Spooktacular Ropes in Thailand’s leading film studio to double the thrill and fun factor GTH, creator of international horror hits, partners with Sentosa to deliver Asia’s “Scariest Fun” Singapore, 13 June 2013 ― Sentosa today announced that for the first-time ever, it will be teaming up with renowned Thai movie production studios, GMM Tai Hub Co. Ltd. (GTH), in a joint production of its annual signature Halloween event – Sentosa Spooktacular 2013. Creator of international horror hits such as Coming Soon, Shutter, Body, Dorm and Pee Mak, GTH will bring their unique brand of storytelling, deeply-rooted in Asian horror folklore, to redefine this year’s edition of Sentosa Spooktacular. Pee Mak, the studio’s blockbuster horror-comedy, along with other horror titles will transform Fort Siloso, setting the stage for a terrifying Halloween event, filled with blood-curdling screams and side-splitting laughter. Sentosa Spooktacular, Asia’s largest horror fest, is set to take place for six nights in October and November. Fans of classic Thai horror films can expect to have their nerves tested in up to five elaborately themed, haunted trails inspired by GTH’s internationally acclaimed films namely, Coming Soon, Shutter, Pee Mak, Dorm and Body. These trails will be held once again at Fort Siloso. “Sentosa Spooktacular has been synonymous with Asia’s scariest fun and is one of the biggest Halloween events in Singapore. At GTH, we want people to experience the same terror, scares and a whole host of other emotions that are akin to watching a Thai horror movie. -
The Effects of Globalization on the Status of Music in Thai Society
The Effects of Globalization on the Status of Music in Thai Society Primrose Maryprasith Thesis submitted for the Degree of Doctor of Philosophy at the University of London Institute of Education 1999 Abstract Globalization tends to be accompanied by two contrary processes: the one a celebration of newly opened international communications, the other, resistance to what is seen as an invasion of foreign culture. This research examines such processes in terms of perceptions of the status of music in Bangkok. The focus is on three main musical categories each of which, if vocal, uses Thai language in its lyrics: Thai classical, Thai country popular and Thai popular music. These musical categories, and the changing relationships between them, are examined in terms of three interconnected areas of perceptions of musical value: the position of music in education, the status of musical careers and the role of music in affirming national identity. Two sets of questionnaires were completed by 100 undergraduate students from 5 universities and 108 secondary-level school music teachers from 108 schools; and interviews were held with 10 respondents from 9 record companies. Whilst the students valued Thai classical music and country popular music as national symbols, they identified themselves with Thai popular music, which has become the main local musical product as a result of the globalization of the music industry. Contrastingly, the teachers understood Thai popular music as a capitulation to foreign culture. They used Thai classical music as the most common extra-curricular activity, but they nonetheless incorporated Thai popular music most often in classrooms. Careers involving Thai classical music were perceived as offering fewer rewards compared to other types of music. -
Enhancing Critical Thinking of Undergraduate Thai Students Through Dialogic Inquiry Maliwan Buranapatana
Enhancing Critical Thinking of Undergraduate Thai Students through Dialogic Inquiry Maliwan Buranapatana A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Languages, International Studies and Tourism The University of Canberra, Australia March 2006 ii iii Abstract This thesis sets for itself the task of testing the viability of a dialogic model of learning as a methodology for teaching critical thinking in reading and writing to undergraduate students of Thai in Thailand. To this end, we conducted an experiment involving twenty-one undergraduate students of Thai at KhonKaen University, Thailand. This study presents the intellectual background of the pedagogic framework supporting the experiment and a discussion of its outcomes. The assessment of the results of the experiment focuses on the forms of evidence resulting directly from this pedagogic framework. The study concludes with a number of considerations for future research in critical thinking which our project helped us to identify. For the purpose of our work, we adopt the model of dialogic learning which involves students in looking for perspectives enabling them to challenge, and as a result to enhance, the relevance of the understandings in which they frame their interactions. The process is dialogic because it involves students in working with different points of view by identifying challenging perspectives, constructing conflicting arguments and exploring the strategic potential that the interaction of these arguments may have on the students’ initial assumptions. In this sense, the concept of dialogue that we use refers to the methodology of students’ inquiry (learning), rather than a specific form of linguistic genre. -
NEWS RELEASE Sentosa Spooktacular: There Will Be No Fort
NEWS RELEASE Sentosa Spooktacular: There Will be No Fort Siloso Halloween venue for Sentosa Spooktacular transforms into an immersive haunted village, Laddaland One of the many houses featured in haunted village Laddaland in Sentosa Spooktacular 2014 Singapore, October 2014 ― Sentosa Spooktacular returns this Halloween with a renewed, more immersive and integrated experience for visitors, where the boundaries of once Fort Siloso and new haunted village Laddaland will be blurred. This is the result of a returning partnership between Sentosa Leisure Management Pte Ltd and Thai film production studio, GMM Tai Hub Co. Ltd (GTH), as both organisations combine their expertise in destination and production capabilities to deliver the experience of being enveloped in a bone-chilling walkthrough for horror fans. All 40,000 square metres of Fort Siloso will be transformed into a haunted residential zone, and visitors to Sentosa Spooktacular’s Laddaland will venture through basements and houses just as how they would explore a new neighbourhood they just moved into. Visitors will experience an extended walkthrough each lasting about 20 to 30 minutes, and make a prolonged heart-pounding journey as they brace themselves for anticipated twists and turns, as well as sudden shocking moments. Fort Siloso’s combined natural settings, existing artilleries and tunnels present excellent assets to transform into the interior of houses and facility buildings, tracing the journey of spirits and souls who once lived in those houses, and may still lurk in the dark. The transformation of Fort Siloso into Laddaland in Sentosa Spooktacular 2014 is based on GTH’s well-received movie, Laddaland; story has it that a family of four started on a new life journey and moved into Laddaland, ready to settle in a beautiful home they could call their own and live their dreams. -
BACC E-Journal 2021.Pdf
1 Message from the Director Luckana Kunavichayanont 2 “Intelligence is the capacity to perceive the essential, The BACC agenda has begun its second decade with the what is; and to awake this capacity, in oneself an expansion of new possibilities, utilizing other and in others, is education.” – Jiddu Krishnamurti platforms for displays, participatory activities, and information dissemination to help us reach a larger Since its inception more than 12 years ago, the audience. Beyond organizing lectures by artists and Bangkok Art and Culture Centre (BACC) has aimed experts, we are thrilled to have these opportunities to be a source of learning based on the content of because they expand the potential for learning our artistic and cultural works relating to the history beyond the Pathumwan intersection. At the moment, of modern and contemporary art movements in the wonderful collaborative participation we have Thailand and around the world. It’s all a process of received from artists, curators, professors, and experts fostering inspiration, encouraging critical thinking in art and culture, as well as various fields of the and the posing of questions in order to awaken social sciences, can be seen in the articles they have understanding, make connections, and bring rational contributed to Volume 1 of the Bangkok Art and analysis to a variety of issues. Culture Centre E-journal. Learning in this space not only generates excite- The Bangkok Art and Culture Centre places a high ment and entertainment through forms of art that value on the presentation of diverse artistic and are beautiful, impressive, diverse, or represent new cultural works, as well as the promotion of cross- trends; it also trains us to read both past and present disciplinary collaboration. -
The Key Elements of Horror Films
THE KEY ELEMENTS OF HORROR FILMS: COMPARATIVE STUDY BETWEEN THAILAND AND CHINA THE KEY ELEMENTS OF HORROR FILMS: COMPARATIVE STUDY BETWEEN THAILAND AND CHINA Li Zheyu This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts 2018 ©2018 Li Zheyu All Rights Reserved Li, Z. Y. Master of Arts in Communication Arts, February 2018, Graduate School, Bangkok University. The key elements of horror films: Comparative study between Thailand and China (82 pp.) Advisor: Assoc. Prof. Boonlert Supadhiloke, Ph.D. ABSTRACT This research is focus on the key elements of horror film and national culture. The objectives of research are finding key elements in China and Thailand horror film and compare the culture of China and Thailand horror film. Six horror films from China and Thailand had been selected to be sample from 2008 to 2017. They are The house that never dies (2014), Who in the mirror (2012), Mysterious Face 2013, Pee Mark (2013), The Snow White (2010), and Phobia 2-Ha phraeng (2009). This study also combined with Greet Hofstede’s culture dimensions to explore the similarity and differences of Chinese and Thai horror film. The ghost events in Chinese horror film always occur at night and the image of ghost always female. Chinese horror film has defects on narrative logic. The ghost events in Thailand horror film mainly occur at night and the image of ghost in different ages and gender besides female. The tone of Thailand horror film is humorous. Keywords: Chinese horror film, Thailand horror film, Elements, Culture v ACKNOWLEDGMENT This study is firstly dedicated to my beloved family and friends for standing by me during the process of this project and providing with their knowledge and support.