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Sistematización De Un Nuevo Paradigma Ontológico Del Videojuego: El Formativismo
UNIVERSIDAD DE SEVILLA DPTO. COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD TESIS DOCTORAL SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO Juan José Vargas Iglesias Sevilla, 2015 SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO 2 TESIS DOCTORAL Presentada por Juan José Vargas Iglesias bajo la dirección del Prof. Dr. D. Luis Navarrete Cardero SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO Vº Bº del Director de la Tesis, Prof. Dr. D. Luis Navarrete Cardero Sevilla, a 13 de octubre de 2015 3 A mis padres. 4 Uno podría aventurar la afirmación de que una histeria es una caricatura de una creación artística; una neurosis obsesiva, de una religión; y un delirio paranoico, de un sistema filosófico. Sigmund Freud, Totem y tabú Mientras Dios juega viene a ser mundo. Martin Heidegger, La proposición del fundamento 5 Agradecimientos Agradezco, en primer lugar, a Luis por aceptar la dirección de esta tesis, por su genero- sidad, por su compromiso irreductible y por concederme el privilegio de su amistad. A mis alumnos y alumnas, porque no pasa un día sin que me enseñen algo nuevo. A mis compañeros y compañeras del Departamento, y a quienes componen y han com- puesto el Aula de Videojuegos. A Mario, por las conversaciones inagotables en la cumbre intemporal de las Abstrac- ciones, por su galvanizante entusiasmo y su brillantez inspiradora. A Alejandra, por ser capaz de redimirme con una sonrisa. Por cambiar el mundo en que vivía. Por su paciencia sin límites. Por ser Ella. A Sofi, por las horas y horas dedicadas a completar aventuras gráficas de todo pelaje cuando éramos niños. -
Via G Janu Mr. J Secre Cana Tele Ottaw K1A Dear Re: 1. 2. 3. 4
Via GCKey January 22nd, 2014 Mr. John Traversy Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2 Dear Mr. Traversy: Re: Part 1 Application to amend the broadccasting licences of TELETOON/TÉLÉTOON, TELETOON Retro and Historia and Séries+ specialty programming undertakings 1. This is an application by Corus Entertainment Inc. (Corus), filed on behalf of the licensees of the specialty television programming undertakings listed in the Attachment to this letter. All licensees are wholly owned subsidiaries of Corus. 2. The purpose of this application is to seek an amendment, pursuant to Part 1 of the Canadian Radio-television and Telecommunications Commission Rules of Practice and Procedure, to the broadcasting licences for each of the television services listed in the Attachment. 3. The proposed amendment would replacee the existiing condition of licence (COL) relating to the level of over-expenditures that may be deducted from the required expenditures on Canadian programming (CPE) or programs of national interest (PNI) in the next broadcast year, as set out in Broadcasting Decision CRTC 2013-737, Appendices 3 and 4 and Broadcasting Decision CRTC 2013-738, Apppendices 2 and 3. The affected COL for each service is listed in the Attachment. 4. Specifically, Corus requests that the affected COL for each service be replaced with the following COL: (b) In each broadcast year of the licence term, excluding the final year, where the licensee expends an amount for that year on Canadian programming or programs of national interest that is greater than the minimum required expenditure, the licensee may deduct that amount from the minimum required expenditure in one or more of the remaining years of the licence term. -
Jocelyn Fung ART DIRECTION & TEAM LEADERSHIP for GAMES & DIGITAL EXPERIENCES
Jocelyn Fung ART DIRECTION & TEAM LEADERSHIP FOR GAMES & DIGITAL EXPERIENCES 533 8TH ST - APT 2L SUMMARY BROOKLYN NY - 11215 [email protected] Directed and actively participated in art asset production for 8 successful casual (929) 237-9231 game launches. Managed the execution of 100+ marketing campaigns per month for live games. Hands-on creative problem solving and team growth. KEY SKILLS Excellent with typographic layouts, eyeballing pixel nudges with eerie accuracy, and 6 YEARS as senior management balancing colour and space to optimize user experiences and marketing hooks. 20+ YEARS design experience with a focus on the aesthetics of RECENT WORK HISTORY interaction and digital products BLUEBAT GAMES | GREENTUBE-NOVOMATIC VANCOUVER, BC TECHNICAL SKILLS CREATIVE AND MARKETING DIRECTOR Photoshop / Illustrator Dec 2015 – Present Adobe XD Art Direction, Strategy, and Creative Vision. Art Process Architecture. Brand JIRA / Confluence / Airtable Consistency. Project Scoping and Management. Retention/Engagement Slack Marketing Strategy and Design Direction. Visual UX Specialist. SVN / Perforce Cross-Functional Team Communication. Presentations for External Microsoft Office 365 / G Suite Stakeholders. Outsource/Freelance Management. Maya / 3DS Max / Zbrush SENIOR ARTIST Aug 2012 - Dec 2015 EDUCATION UI Concept Design and Asset Production, Graphic Design for Marketing and Business Development, Outsource Management UNIVERSITY OF BRITISH COLUMBIA SLANT SIX GAMES 1998 – 2002 VANCOUVER, BC BACHELOR OF ARTS ARTIST | Jun 2007 - Aug 2012 Sociology and Gender Studies Graphics for SOCOM, Fire Team Bravo, Resident Evil: Operation Raccoon City ART INSTITUTE OF ELECTRONIC ARTS - BLACK BOX VANCOUVER VANCOUVER, BC 2002 – 2004 ARTIST | Sept 2004 - Jun 2007 DIPLOMA Graphics for Need for Speed Most Wanted, Need for Speed Carbon, EA Skate Game Art and Animation. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Ted Sarandos Chief Content Officer Netflix One of Time Magazine's 100
Ted Sarandos Chief Content Officer Netflix One of Time Magazine's 100 Most influential People of 2013, Ted Sarandos has led content acquisition for Netflix since 2000. With more than 20 years’ experience in the home entertainment business, Ted is recognized as a key innovator in the acquisition and distribution of films and television programs. From its roots as a U.S. DVD subscription rental company, Netflix is now the world’s leading Internet television network with more than 50 million members in nearly 50 countries. With the 2013 releases of "House of Cards," "Hemlock Grove," "Arrested Development," "Orange is the New Black," “Turbo F.A.S.T.,” “Derek,” and “Lilyhammer,” Ted has led the transformation of Netflix into an original content powerhouse that is changing the rules of how serialized television is produced, released and distributed globally. In its first two years of releasing original series, documentary films and comedy specials, Netflix has been recognized by the film and TV industries with 45 Emmy nominations and 10 Emmy wins; an Oscar nomination; 6 Golden Globe nominations and a win; 2 Peabody Awards; 2 AFI Awards and recognition from all of the major guilds. Ted has also been producer or executive producer of several award winning and critically acclaimed documentaries and independent films, including the Emmy nominated "Outrage," and "Tony Bennett: The Music Never Ends." He is a Henry Crown Fellow at the Aspen Institute and serves on the board of Exploring The Arts, a nonprofit focused on arts in schools. He also serves on the Film Advisory Board for Tribeca and Los Angeles Film Festival, is an American Cinematheque board member and is an Executive Committee Member of the Academy of Television Arts & Sciences. -
1 April 22Nd, 2013 Dear Fellow Shareholders, in Q1, We Added
April 22nd, 2013 Dear Fellow Shareholders, In Q1, we added over 3 million streaming members, bringing us to more than 36 million, who collectively enjoyed on Netflix over 4 billion hours of films and TV shows. Our summary results for Q1 2013 follow: (in millions except per share data) Q1 '12 Q2 '12 Q3 '12 Q4 '12 Q1 '13 Domestic Streaming: Net Additions 1.74 0.53 1.16 2.05 2.03 Total Members 23.41 23.94 25.10 27.15 29.17 Paid Members 22.02 22.69 23.80 25.47 27.91 Revenue $ 507 $ 533 $ 556 $ 589 $ 639 Contribution Profit* $ 72 $ 87 $ 96 $ 113 $ 131 Contribution Margin* 14.3% 16.4% 17.2% 19.2% 20.6% International Streaming: Net Additions 1.21 0.56 0.69 1.81 1.02 Total Members 3.07 3.62 4.31 6.12 7.14 Paid Members 2.41 3.02 3.69 4.89 6.33 Revenue $ 43 $ 65 $ 78 $ 101 $ 142 Contribution Profit (Loss) $ (103) $ (89) $ (92) $ (105) $ (77) Domestic DVD: Total Members 10.09 9.24 8.61 8.22 7.98 Revenue $ 320 $ 291 $ 271 $ 254 $ 243 Contribution Profit $ 146 $ 134 $ 131 $ 128 $ 113 Global: Revenue $ 870 $ 889 $ 905 $ 945 $ 1,024 Operating Income (Loss) $ (2) $ 16 $ 16 $ 20 $ 32 Net Income (Loss)** $ (5) $ 6 $ 8 $ 8 $ 3 Net Income Excluding Debt Extinguishment Loss $ - $ - $ - $ - $ 19 EPS** $ (0.08) $ 0.11 $ 0.13 $ 0.13 $ 0.05 EPS Excluding Debt Extinguishment Loss $ - $ - $ - $ - $ 0.31 Free Cash Flow $ 2 $ 11 $ (20) $ (51) $ (42) Shares (FD) 55.5 58.8 58.7 59.1 60.1 *Contribution profit & margin for prior periods reflect reclassification of marketing overhead costs to G&A **Net Income/EPS includes a $25m loss on extinguishment of debt ($16m net of tax) 1 Domestic Streaming Our U.S. -
Channel Listing Fibe Tv Current As of June 18, 2015
CHANNEL LISTING FIBE TV CURRENT AS OF JUNE 18, 2015. $ 95/MO.1 CTV ...................................................................201 MTV HD ........................................................1573 TSN1 HD .......................................................1400 IN A BUNDLE CTV HD ......................................................... 1201 MUCHMUSIC ..............................................570 TSN RADIO 1050 .......................................977 GOOD FROM 41 CTV NEWS CHANNEL.............................501 MUCHMUSIC HD .................................... 1570 TSN RADIO 1290 WINNIPEG ..............979 A CTV NEWS CHANNEL HD ..................1501 N TSN RADIO 990 MONTREAL ............ 980 ABC - EAST ................................................... 221 CTV TWO ......................................................202 NBC ..................................................................220 TSN3 ........................................................ VARIES ABC HD - EAST ..........................................1221 CTV TWO HD ............................................ 1202 NBC HD ........................................................ 1220 TSN3 HD ................................................ VARIES ABORIGINAL VOICES RADIO ............946 E NTV - ST. JOHN’S ......................................212 TSN4 ........................................................ VARIES AMI-AUDIO ....................................................49 E! .........................................................................621 -
2011-2012 CJFE's Review of Free Expression in Canada
2011-2012 CJFE’s Review of Free Expression in Canada LETTER FROM THE EDITORS OH, HOW THE MIGHTY FALL. ONCE A LEADER IN ACCESS TO INFORMATION, PEACEKEEPING, HUMAN RIGHTS AND MORE, CANADA’S GLOBAL STOCK HAS PLUMMETED IN RECENT YEARS. This Review begins, as always, with a Report Card that grades key issues, institutions and governmental departments in terms of how their actions have affected freedom of expres- sion and access to information between May 2011 and May 2012. This year we’ve assessed Canadian scientists’ freedom of expression, federal protection of digital rights and Internet JOIN CJFE access, federal access to information, the Supreme Court, media ownership and ourselves—the Canadian public. Being involved with CJFE is When we began talking about this Review, we knew we wanted to highlight a major issue with a series of articles. There were plenty of options to choose from, but we ultimately settled not restricted to journalists; on the one topic that is both urgent and has an impact on your daily life: the Internet. Think about it: When was the last time you went a whole day without accessing the membership is open to all Internet? No email, no Skype, no gaming, no online shopping, no Facebook, Twitter or Instagram, no news websites or blogs, no checking the weather with that app. Can you even who believe in the right to recall the last time you went totally Net-free? Our series on free expression and the Internet (beginning on p. 18) examines the complex free expression. relationship between the Internet, its users and free expression, access to information, legislation and court decisions. -
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. in Re
Electronically Filed Docket: 14-CRB-0010-CD/SD (2010-2013) Filing Date: 12/29/2017 03:37:55 PM EST Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS 2010-2013 CABLE ROYALTY YEARS VOLUME I OF II WRITTEN TESTIMONY AND EXHIBITS Gregory O. Olaniran D.C. Bar No. 455784 Lucy Holmes Plovnick D.C. Bar No. 488752 Alesha M. Dominique D.C. Bar No. 990311 Mitchell Silberberg & Knupp LLP 1818 N Street NW, 8th Floor Washington, DC 20036 (202) 355-7917 (Telephone) (202) 355-7887 (Facsimile) [email protected] [email protected] [email protected] Attorneys for MPAA-Represented Program Suppliers December 29, 2017 Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF MPAA-REPRESENTED PROGRAM SUPPLIERS FOR 2010-2013 CABLE ROYALTY YEARS The Motion Picture Association of America, Inc. (“MPAA”), its member companies and other producers and/or distributors of syndicated series, movies, specials, and non-team sports broadcast by television stations who have agreed to representation by MPAA (“MPAA-represented Program Suppliers”),1 in accordance with the procedural schedule set forth in Appendix A to the December 22, 2017 Order Consolidating Proceedings And Reinstating Case Schedule issued by the Copyright Royalty Judges (“Judges”), hereby submit their Written Direct Statement Regarding Distribution Methodologies (“WDS-D”) for the 2010-2013 cable royalty years2 in the consolidated 1 Lists of MPAA-represented Program Suppliers for each of the cable royalty years at issue in this consolidated proceeding are included as Appendix A to the Written Direct Testimony of Jane Saunders. -
KILLER GAMES for 2010 Lost Planet 2 Kicks Off the Hottest Year in Gaming March 2010
HALO: REACH • DEAD SPACE 2 • TRUE CRIME OFFICIAL XBOX MAGAZINE OFFICIAL XBOX GIANT MONSTERS! 4-PLAYER ACTION! HELL YEAH! GET READY! LOST PLANETLOST 2 100KILLER GAMES FOR 2010 Lost Planet 2 kicks off the hottest year in gaming March 2010 March FINALLY! BIOSHOCK 2 Reviewed here fi rst! MARCH 2010 • ISSUE 107 MEET THE TEAM Letter From the Editor There’s no place like home Issue 107 • March 2010 EDITORIAL EDITOR-IN-CHIEF Francesca Reyes 2010. It’s barely under way as I type this, but it MANAGING EDITOR Corey Cohen already feels like it’s going to be one of those mega- SENIOR EDITOR Ryan McCaffrey FEATURES EDITOR Kevin W. Smith years in gaming — one that all of us will be talking EDITORIAL SUPER-INTERN Taylor Cocke about well into the future in hushed, reverent tones. EDITORIAL CONTRIBUTORS Mike Channell, Alex Clark, Mitch Dyer, Why? Because it’s one of the big-time bullet-points Andrew Hayward, Cameron Lewis, Chris Morris, in the Great Big Videogame Cycle™ when the stars Chuck Osborn, Matthew Pellett, Will Porter, Ben Talbot, Meghan Watt align and we get the much-anticipated “Part IIs” (or “These dark whatever chapter each series is on at this point) that ART revamp, relaunch, or revisit universes we still hold CONTRIBUTING ART DIRECTOR/PHOTOGRAPHER Juliann Brown little places CONTRIBUTING GRAPHIC DESIGNER/ILLUSTRATOR dear years after the originals. Just think: Mass of fi ction and Christina Empedocles Effect 2, BioShock 2, Lost Planet 2, Dead Rising 2, CONTRIBUTING COVER DESIGNER Monique Convertito Fable III, a new Fallout…the list just stretches far into wonder are BUSINESS the furthest reaches of 2010 without end. -
Download Motion Capture Resume
Phone: 416-960-9686 Fax: 416-960-2314 Email: [email protected] CAILIN STADNYK ACTRA | UBCP | CAEA | MOTION CAPTURE MOTION CAPTURE DRAGON AGE: Inquisition Lead & Incidental Females BIOWARE BARBIE and The Secret Door Barbie & I.F.* RAINMAKER/ MATTEL FIFA 2014 Incidental Females/Fans EA SPORTS BARBIE: The Pearl Princess Lumina (Barbie) & I.F.* RAINMAKER/ MATTEL BARBIE: Mariposa & The Fairy Princess Mariposa (Barbie) & I.F.* RAINMAKER/ MATTEL BARBIE: The Princess & The Popstar Keira (Barbie), Meredith, Duchess Amelia, Nora RAINMAKER/ MATTEL BARBIE: A Perfect Christmas Barbie & I.F.* RAINMAKER/ MATTEL KINGDOMS OF AMALUR: Reckoning Various Females BIG HUGE GAMES MASS EFFECT 3 All Females (Human & Humanoid) BIOWARE MASS EFFECT 2 All Females (Human & Humanoid) BIOWARE RESIDENT EVIL: Operation Raccoon City Clair SLANT SIX GAMES BARBIE: A Mermaid Tale 2 Merliah (Barbie) RAINMAKER/ MATTEL BARBIE: Princess Charm School Blair (Barbie) RAINMAKER/ MATTEL BARBIE: A Fairy Secret Barbie, Princess Graciella, Lillianna & I.F.* RAINMAKER/ MATTEL CAPTAIN AMERICA: Super Soldier Madame Hydra & I.F.* NEXT LEVEL GAMES DRAGON AGE 2 Lead & Incidental Females BIOWARE DEAD RISING 2 Rebecca Change, The Dive, The Twins & I.F.* BLUE CASTLE GAMES MEDAL OF HONOR Incidental Females GOLDTOOTH CREATIVE STAR WARS: Old Republic Lead & I.F.* (Facial Capture) BIOWARE BARBIE: A Fashion Fairytale Barbie, Zombie Pea, Glimmer, Lillianna, Raquel RAINMAKER/ MATTEL MAX STEELE 7 Dr. James & I.F.* RAINMAKER/ MATTEL BARBIE: A Mermaid Tale Barbie & I.F.* RAINMAKER/ MATTEL ASSASSINS CREED 2: The Truth Eve UBISOFT MAX STEELE 6 Dr. James & I.F.* RAINMAKER/ MATTEL BARBIE: Thumbelina Barbie & Janessa RAINMAKER/ MATTEL HARRY POTTER: The Order of the Phoenix Hermione, Bellatrix, Ginny, Luna (Facial Capture) EA SPORTS FEAR 2 (Promo) Lead Females RAINMAKER ENT. -
Étude Pays Canada (PDF, 6.8
Étude réalisée dans le cadre de la mission économique conjointe présidée par SAR la Princesse Astrid, Représentante de SM le Roi 24 > 31 octobre 2015 CANADA AGENCE POUR LE COMMERCE EXTERIEUR PRÉFACE Deuxième pays au monde présentant la plus vaste superficie, le Canada regorge d’opportunités pour les investisseurs étrangers. Son territoire recèle une quantité impressionnante de ressources énergétiques, conférant au secteur une importance stratégique indéniable. Economie innovante, le Canada est également riche de technologies intensives en R&D. De nombreux domaines tels que l’aérospatial, les biotechnologies, les télécommunications et l’animation numérique attirent de plus en plus de talents internationaux. Le pays est en outre considéré comme l’un des meilleurs au monde 3 en ce qui concerne la facilité de faire des affaires. P Nos exportateurs manifestent un intérêt croissant pour l’Ouest du pays. A l’instar RÉFACE des studios cinématographiques de Vancouver -baptisée l’Hollywood du Nord- et des sables bitumeux, les provinces de l’Alberta et de la Colombie-Britannique sont en pleine expansion, considérées par les experts comme les locomotives économiques du Canada de demain. Faisant étape à Vancouver puis à Calgary, la mission économique conjointe se concentrera sur l’Ouest canadien. Au vu de l’entrée en vigueur prochaine de l’AECG (ou CETA), accord global ambitieux signé entre l’Union européenne et le Canada, le calendrier apparaît idéal pour encourager la dynamique commerciale entre nos deux pays. C’est dans ce contexte que l’Agence pour le Commerce extérieur, en collaboration avec ses partenaires régionaux, l’Agence wallonne à l’Exportation et aux Investissements étrangers, Bruxelles Invest & Export et Flanders Investment & Trade, organise cette mission.