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I N H a L T S V E R Z E I C H N
SWR BETEILIGUNGSBERICHT 2018 Beteiligungsübersicht 2018 Südwestrundfunk 100% Tochtergesellschaften Beteiligungsgesellschaften ARD/ZDF Beteiligungen SWR Stiftungen 33,33% Schwetzinger SWR Festspiele 49,00% MFG Medien- und Filmgesellschaft 25,00% Verwertungsgesellschaft der Experimentalstudio des SWR e.V. gGmbH, Schwetzingen BaWü mbH, Stuttgart Film- u. Fernsehproduzenten mbH Baden-Baden 45,00% Digital Radio Südwest GmbH 14,60% ARD/ZDF-Medienakademie Stiftung Stuttgart gGmbH, Nürnberg Deutsches Rundfunkarchiv Frankfurt 16,67% Bavaria Film GmbH 11,43% IRT Institut für Rundfunk-Technik Stiftung München GmbH, München Hans-Bausch-Media-Preis 11,11% ARD-Werbung SALES & SERV. GmbH 11,11% Degeto Film GmbH Frankfurt München 0,88% AGF Videoforschung GmbH 8,38% ARTE Deutschland TV GmbH Frankfurt Baden-Baden Mitglied Haus des Dokumentarfilms 5,56% SportA Sportrechte- u. Marketing- Europ. Medienforum Stgt. e. V. agentur GmbH, München Stammkapital der Vereinsbeiträge 0,98% AGF Videoforschung GmbH Frankfurt Finanzverwaltung, Controlling, Steuerung und weitere Dienstleistungen durch die SWR Media Services GmbH SWR Media Services GmbH Stammdaten I. Name III. Rechtsform SWR Media Services GmbH GmbH Sitz Stuttgart IV. Stammkapital in Euro 3.100.000 II. Anschrift V. Unternehmenszweck Standort Stuttgart - die Produktion und der Vertrieb von Rundfunk- Straße Neckarstraße 230 sendungen, die Entwicklung, Produktion und PLZ 70190 Vermarktung von Werbeeinschaltungen, Ort Stuttgart - Onlineverwertungen, Telefon (07 11) 9 29 - 0 - die Beschaffung, Produktion und Verwertung -
Miser Survey
Which Miser Character Are You? By Kelly Terry Take the quiz below to find out! Count up the number of $ signs to get your total. You see a dollar bill lying on the sidewalk. You immediately: a) Pick it up and put it in your pocket – hey, you could use an extra dollar. $$ b) Take yourself down to Taco Bell and enjoy a delicious taco treat. $ c) Carefully deliver it to the local police station. Hopefully the dollar and its rightful owner can be reunited. $$$ d) Panic. Perhaps you have been robbed and this stray bill is evidence! You must go count your fortune! $$$$ Oh how you love your lovely love! Come to think of it, why do you love your love? a) Her eyes, her lips, her hair, her voice… $$ b) She doesn't eat much, so you save a bundle on the grocery bill. $$$$ c) You have a long, colorful history together, full of close calls, practical jokes, and the occasional bit of trickery. $ d) He defended your honor – your real-life white knight! $$$ You have a bit of extra cash. What would you spend it on? a) The latest fashion. It’s important to look your best! $$ b) A beautiful wedding. No price is too high for love! $$$ c) A loan. Lending money – with interest – is a great way to build wealth! $$$$ d) Tasty vittles. Good food is one of the joys of life! $ What would you say is your best quality? a) Fiscal wisdom $$$$ b) A biting wit $ c) Your boundless passion $$ d) Your ability to remain calm and composed – in any situation $$$ You travel back in time to tell yourself some crucial information. -
An Film Partners, Zdf / Arte, Mam, Cnc, Medienboard Berlin Brandenburg Comme Des Cinemas, Nagoya Broadcasting Network and Twenty Twenty Vision
COMME DES CINEMAS, NAGOYA BROADCASTING NETWORK AND TWENTY TWENTY VISION AN FILM PARTNERS, ZDF / ARTE, MAM, CNC, MEDIENBOARD BERLIN BRANDENBURG COMME DES CINEMAS, NAGOYA BROADCASTING NETWORK AND TWENTY TWENTY VISION SYNOPSIS Sentaro runs a small bakery that serves dorayakis - pastries filled with sweet red bean paste(“an”) . When an old lady, Tokue, offers to help in the kitchen he reluctantly accepts. But Tokue proves to have magic in her hands when it comes to making “an”. Thanks to her secret recipe, the little business soon flourishes… And with time, Sentaro and Tokue will open their hearts to reveal old wounds. 113 minutes / Color / 2.35 / HD / 5.1 / 2015 DIRECTOR’S STATEMENT Cherry trees in full bloom remind us of death. I do not know of any other tree whose flowers blossom in such a spectacular way, only to have their petals scatter just as suddenly. Is this the reason behind our fascination for blossoming cherry trees? Is this why we are compelled to see a reflection of our own lives in them? Sentaro, Tokue and Wakana meet when the cherry trees are in full bloom. The trajectories of these three people are very different. And yet, their souls cross paths and meet one another in the same landscapes. Our society is not always predisposed to letting our dreams become reality. Sometimes, it swallows up our hopes. After learning that Tokue is infected with leprosy, the story pulls us into a quest for the very essence of what makes us human. As a director, I have the honour and pleasure of exploring different lives through cinema, as is the case with this film. -
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF (Zweites Deutsches Fern German channels PHOENIX and sehen) is Germany’s national KiKA, and the European chan public television. It is run as an nels 3sat and ARTE. independent nonprofit corpo ration under the authority of The corporation has a permanent the Länder, the sixteen states staff of 3,600 plus a similar number that constitute the Federal of freelancers. Since March 2012, Republic of Germany. ZDF has been headed by Direc torGeneral Thomas Bellut. He The nationwide channel ZDF was elected by the 60member has been broadcasting since governing body, the ZDF Tele 1st April 1963 and remains one vision Council, which represents of the country’s leading sources the interests of the general pub of information. Today, ZDF lic. Part of its role is to establish also operates the two thematic and monitor programme stand channels ZDFneo and ZDFinfo. ards. Responsibility for corporate In partnership with other pub guide lines and budget control lic media, ZDF jointly operates lies with the 14member ZDF the internetonly offer funk, the Administrative Council. ZDF’s head office in Mainz near Frankfurt on the Main with its studio complex including the digital news studio and facilities for live events. Seite 2 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF is based in Mainz, but also ZDF offers fullrange generalist maintains permanent bureaus in programming with a mix of the 16 Länder capitals as well information, education, arts, as special editorial and production entertainment and sports. -
Donald Crabs Papers LSC.1718
http://oac.cdlib.org/findaid/ark:/13030/c8hq45rv No online items Finding Aid for the Donald Crabs papers LSC.1718 Finding aid by Krystell Jimenez, 2018. UCLA Library Special Collections Online finding aid last updated 2019 February 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Donald Crabs LSC.1718 1 papers LSC.1718 Language of Material: English Contributing Institution: UCLA Library Special Collections Title: Donald Crabs papers Creator: Crabs, Donald Identifier/Call Number: LSC.1718 Physical Description: 24.4 Linear Feet(53 boxes, 5 shoe boxes, 3 flat boxes, 1 oversize flat box) Date (inclusive): 1945-2005 Abstract: Donald Crabs was a UCLA professor who specialized in theater design. He studied scenery and lighting design, as well as set design for television and film. Starting in 1965 he taught set and stage design in the UCLA Department of Theater Arts, now the UCLA School of Theater, Film, and Television, and continued to be involved as a professor emeritus until his death. This collection is comprised of his papers, including research and reference materials, correspondence, notes, teaching materials, slides and photographs, theater floor plans and architectural data, lighting placement charts, and data from Crabs' survey of Californian theater facilities. Additional materials include notebooks with plans for lighting placement and staging and fabric samples for acoustic design. The collection also includes materials related to his research trip to China and reference materials on Chinese theater and performance, and the original survey data Crabs used to compile a database of California theaters. -
Presentation November 2008
Presentation November 2008 1 Disclaimer All forward-looking statements are TF1 management’s present expectations of future events and are subject to a number of factors and uncertainties that could cause actual results to differ materially from those described in the forward-looking statements. 2 Financial Results 3 Consolidated revenue evolution (1/2) 9 Months 9 Months % €M 2007 2008 2007 2008/2007 Total Revenue 1,880.3 1,970.3 2,763.6 -4.6 % Incl. TF1 Channel Advertising 1,187.8 1,228.7 1,718.3 - 3.3 % Incl. Other Activities 692.5 741.6 1,045.3 -6.6 % H1 H1 Q3 Q3 €M % % 2008 2007 2008 2007 Total Revenue 1,363.5 1,430.6 -4.7 % 516.8 539.7 -4.2 % Incl. TF1 Channel Advertising 891.2 924.7 - 3.6 % 296.6 304.0 -2.4 % Incl. Other Activities 472.3 505.9 - 6.6 % 220.2 235.7 -6.6 % 4 Consolidated revenue evolution (2/2) 9 Months 9 Months €M 2007 2008 2007 (*) France Broadcasting 1,539.8 1,587.5 2,220.5 TF1 Channel 1,193.1 1,235.9 1,729.3 Téléshopping group 109.4 110.9 153.1 Thematic channels in France 138.3 138.0 188.6 TF1 Entreprises 20.8 21.7 40.5 In-house production companies 24.0 23.1 28.1 e-tf1 38.1 42.6 57.4 Others 16.1 15.3 23.5 Audiovisual Rights 105.9 177.9 268.1 Catalogue 39.0 70.7 101.4 TF1 Video 66.9 107.2 166.7 International Broadcasting 234.0 204.9 274.8 Other Activities 0.6 - 0.2 Total revenue 1,880.3 1,970.3 2,763.6 (*) Reclassification of TF1 Hors Média (non-media below-the-line promotional activities) from TF1 Entreprises to Other after its merger into TF1 Publicité, and of WAT from Other to e-TF1 5 A tough economic situation Evolution of advertising revenue by sector (for TF1) Gross revenue (January-October 2008) Evol Jan-Oct. -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
It's All About the LIGHT! - Introduction to Stage Lighting
4/16/13 It's all about the LIGHT! - Introduction to Stage Lighting It's all about the LIGHT! Introduction to Stage Lighting Instruments, Electricity & Welcome to the Introduction to Stage Lighting online website. This site is to Cables/Connectors be used as an additional source of information for the Introduction to Stage Entertainment Industry Lighting course held at Valencia Community College, East Campus taught by Creative Design for Theatre Sonia Pasqual. Lighting History & Intensity Control The course syllabus and calendar for the current semester is available via Lighting Design the course homepage or you can download the file from below. Basic Stagecraft If you choose to download it from your atlas account go to the course Additional Information homepage for the Introduction to Stage Lighting section which you are in now, TPA 2220. You can download it at anytime to view, there will be a hard copy of the lighting syllabus outside my office door for anyone needing to view it if they are on campus and can not access atlas. The information gathered on this site is produced by Sonia Pasqual. All other information has been credited to its source and is only used as a visual aid for my students. Sonia has been involved in the art of theatre and entertainment since 1992. Her knowledge and information comes from her experience and growing up in the theatre world. She has worked in theatres across the Greater Central Florida, North Florida, and New York City. Her work and experience also extends into the theme parks such as Universal Studios 97-99, and Walt Disney World 04-Present, while at Disney she has played several roles. -
A Lively Theatre There's a Revolution Afoot in Theatre Design, Believes
A LIVELY THEatRE There’s a revolution afoot in theatre design, believes architectural consultant RICHARD PILBROW, that takes its cue from the three-dimensional spaces of centuries past The 20th century has not been a good time for theatre architecture. In the years from the 1920s to the 1970s, the world became littered with overlarge, often fan-shaped auditoriums that are barren in feeling and lacking in intimacy--places that are seldom conducive to that interplay between actor and audience that lies at the heart of the theatre experience. Why do theatres of the 19th century feel so much more “theatrical”? And why do so many actors and audiences prefer the old to the new? More generally, does theatre architecture really matter? There are some that believe that as soon as the house lights dim, the audience only needs to see and hear what happens on the stage. Perhaps audiences don’t hiss, boo and shout during a performance any more, but most actors and directors know that an audience’s reaction critically affects the performance. The nature of the theatre space, the configuration of the audience and the intimacy engendered by the form of the auditorium can powerfully assist in the formation of that reaction. A theatre auditorium may be a dead space or a lively one. Theatres designed like cinemas or lecture halls can lay a dead hand on the theatre experience. Happily, the past 20 years have seen a revolution in attitude to theatre design. No longer is a theatre only a place for listening or viewing. -
BECOMING PAN-EUROPEAN? Transnational Media and the European Public Sphere
The International Communication Gazette © The Author(s), 2009. Reprints and permissions: http://www.sagepub.co.uk/journalsPermissions.nav the International Communication Gazette, 1748-0485; Vol. 71(8): 693–712; DOI: 10.1177/1748048509345064 http://gaz.sagepub.com BECOMING PAN-EUROPEAN? Transnational Media and the European Public Sphere Michael Brüggemann and Hagen Schulz-Forberg Abstract / Research about the European public sphere has so far mainly focused on the analysis of national media, neglecting a dimension of transnational communication, namely transnational media. These media could serve as horizontal links between the still nationally segmented public spheres and they could be platforms of a transnational European discourse. Four ideal-types of transnational media can be distinguished: (1) national media with a transnational mission, (2) inter- national media, (3) pan-regional media and (4) global media. Within this framework the article analyses transnational media in Europe, showing that a multitude of transnational media have developed in Europe. They have acquired a small but growing and influential audience. Whether transnational media fulfil the normative demands related to the concept of a transnational public sphere remains an open question as some of these media heavily depend on government subsidies and there is a clear lack of research on the European discourses represented in these media. Keywords / EU / European media / European integration / international communication / public sphere / transnational communication / transnational media Introduction: Transnational Media and the European Public Sphere Current research on the European public sphere focuses mainly on the European- ization of national public spheres as opposed to transnational spaces of communi- cation. This approach developed out of research proposals and projects beginning in the 1990s and early 2000s that operationalized a nation-based media analysis in order to understand the public sphere’s development in the EU. -
Cheers! À Votre Santé!
July/Juillet 2007 volume 4 N° 07 Stageworks The monthly electronic newsletter for members of the Canadian Institute for Theatre Technology / Institut canadien des technologies scénographiques. In this month’s issue: INDEX ce mois-ci: p.1-4 News from the National Office / Nouvelles du bureau national p.5 ETCP News / Nouvelles de ETCP p.6-7 Membres CITT / ICTS 2006-2007 Membership p.8-11 RENDEZ-VOUS 2007 conference CHEERS! À VOTRE SANTÉ! programme details The art of communicating with your soundman, Atlantic style! L’art de communiquer avec son sonorisateur, à la mode atlantique ! p.12 New Members and Participants raise a pint of Get Well wishes to Brad Fox who was ill and Les participants lèvent leur verre à la santé de Brad Fox qui, pour des Upcoming Events / couldn’t come out to host his session on digital sound consoles during raisons de santé justement, n’a pas pu se rendre à la conférence APA à Nouveaux membres et Événements à the APA mini conference retreat in Wolfville, NS. From left to right: Nigel Wolfville, N.É. pour offrir son atelier sur les consoles de son numériques. venir Kearns (Membertou Trade and Convention Centre, NS), Jeffery Fevens De gauche à droite : Nigel Kearns (Membertou Trade and Convention (Fredericton Playhouse, NB), Mike Gohier (JD International, QC) and Centre, N.-É.), Jeffery Fevens (Fredericton Playhouse, N.-B.), Mike Gohier Karl Simmons (Arts and Culture Centre, NL). (JD International, QC) et Karl Simmons (Arts and Culture Centre, T.-N.). PS: Brad was finally able to make it the next day to give his session. -
Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.