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Hunt Cover C 5/2/08 2:43 PM Page 1
Hunt cover C 5/2/08 2:43 PM Page 1 Want towin a week in paradise? Want tohave some good,crazy fun? Joinus today,May18,at noon downtown for an adventure you’ll never forget. TWPMFor details,turn toPage16. MAY 18,2008 Magazine Template 4/28/08 12:38 PM Page 1 -BTU%BZT -FBUIFSEBZT .BZUIUI EBZTPGWFSZBUUSBDUJWFQSJDFT UPEJTDPWFS3PDIF#PCPJTiTBWPJSGBJSFw 8"4)*/(50/ 8JTDPOTJO "WFOVF /8 8BTIJOHUPO %$ 5FM 4"-& )0634 .PO4BU BN QN 0QFO 4VO .BZ UI UI GSPN /PPO QN XXXSPDIFCPCPJTDPN /PU UP CF VTFE JO DPOKVODUJPO XJUI BOZ PUIFS QSPNPUJPOBM PGGFS BOE EPFT OPU BQQMZ UP QSJPS PSEFST 5_18 contents 5/2/08 3:58 PM Page 1 May18, 2008CONTENTS (1) Read the instructions on Page 16. (2) Join us before noon downtown. (3) Solve the Post Hunt Puzzles before anyone else. 10 (4) Spend an expense-paid vacation for four in this little corner of paradise. STORY ON PAGE 16 FIRST THINGS FIRST 2 Editor’s Note 2 Cul de Sac 4 Second Glance 6 Date Lab 8 Then & Again 10 Making It 11 Editor’s Query 12 First Person Singular 14 Dilbert 34 DEPARTMENTS 44 Dining Thai Ki and Ping by Charlie Chiang’s 16 BY TOM SIETSEMA COVER STORY After winning the Hunt, 46 The Puzzle you’ll need five nights ‘It’s Not What It Looks Like’ 16 at a Florida resort. BY MERL REAGLE GO! 47 Significant Others BY DAVE BARRY, GENE WEINGARTEN AND TOM SHRODER Home Invasion BY JEANNE MARIE LASKAS Join the first-ever Post Hunt, and spend an adventure-filled afternoon that you’ll 48 Below the Beltway Teddy Stole need years of therapy to forget. -
In the Matter of ) ) GN Docket No
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 ____________________________________ ) ) In the Matter of ) ) GN Docket No. 17-183 Expanding Flexible Use in Mid-Band ) Spectrum between 3.7 and 24 GHz ) ) ____________________________________) COMMENTS OF BROADCOM LTD Christopher Szymanski Director, Product Marketing and Government Affairs Vinko Erceg Fellow, Systems Engineering BROADCOM LTD 5300 California Avenue Irvine, CA 92617 October 2, 2017 TABLE OF CONTENTS INTRODUCTION AND SUMMARY .......................................................................................... I. Broadcom Plays a Central Role in Expanding Wireless Broadband. ................................. 2 II. Unlicensed Services are at the Core of Today’s Wireless Economy. ................................. 3 III. e 6 GHz Band is an Important Opportunity to Make Needed Spectrum Available for Unlicensed Services. ........................................................................................................... 9 IV. e Commission Should Propose a 6 GHz Band Structure that Permits Different Technical Rules to Address Different Incumbent Operations. ......................................... 11 CONCLUSION ........................................................................................................................... INTRODUCTION AND SUMMARY As a leading Wi-Fi chip maker, Broadcom strongly supports the Commission’s Notice of Inquiry (“NOI”) seeking ways to expand flexible use of mid-band spectrum.1 It is now widely recognized, by industry -
Kenji Mizoguchi Cinematographic Style (Long Take) in 'The Life of Oharu' (1952)
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofApplied Arts with Honours (Cinematography) 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS/LAPORAN JUDUL: Kenji Mizoguchi Cinematographic Style (Long Take) In The 'Life OfOharu' (1952). SESI PENGAJIAN: 200912013 Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011 mengaku membenarkan tesisl Laporan * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi pengajian tinggi 5. *sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan SULIT 6·D atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) TERHAD D (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Disahkan Disahkan Oleh: c:dt~f • Tandatangan Penulis Tandatangan Penyelia Tarikh t:L~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U . faculty ofApplie4 aM CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda • lika Tesis/ Laporan SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasal organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis/ laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD This project report attached hereto, entitled "KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)". -
Broadband Mapping Across the Us: Local, State, and Federal Methods & Contradictions #Showmeyourmaps
BROADBAND MAPPING ACROSS THE US: LOCAL, STATE, AND FEDERAL METHODS & CONTRADICTIONS #SHOWMEYOURMAPS MAY 2021 AUTHORS: Francella Ochillo Ryan Johnston Corian Zacher Lukas Pietrzak ABOUT NEXT CENTURY CITIES Next Century Cities (“NCC”) is a nonprofit, non-partisan organization that advocates for fast, affordable, and reliable broadband Internet access across the U.S. We work alongside local officials in communities of all sizes and political stripes to eliminate the digital divide. Communities that have widespread broadband access and adoption are better equipped to help reduce poverty, increase educational opportunities, improve public health, support aging in place, and boost civic engagement. Ensuring that every resident has access to digital opportunities starts with being able to measure the scope of the problem, which depends on accurate broadband data. As NCC has documented in filings and publications, the Federal Communications Commission’s (“FCC” or “Commission”) maps have long told a different story of broadband access than what residents across the country actually experience. It is widely known that the FCC’s broadband availability data understates the seriousness of, and lacks granularity to adequately address, persistent gaps in connectivity. IMPROVING FEDERAL BROADBAND DATA The FCC’s data perpetually overstates broadband availability and could be improved in a variety of ways. For example, collecting information on latency and pricing, as well as adopting more nuanced methods to determine service availability and validate data submitted by providers, would improve the accuracy and efficacy of its broadband maps. Additionally, improving federal data would support state and local mapping initiatives, which largely rely on the Commission’s data as a baseline. -
The Global Publishing Industry in 2017
The Global Publishing Industry in 2017 The Global Publishing Industry in 2017 The user is allowed to reproduce, distribute, adapt, translate and publicly perform this publication, including for commer- cial purposes, without explicit permission, provided that the content is accompanied by an acknowledgement that WIPO is the source and that it is clearly indicated if changes were made to the original content. Suggested citation: WIPO (2019). The Global Publishing Industry in 2017. Geneva: World Intellectual Property Organization. Adaptation/translation/derivatives should not carry any offi- cial emblem or logo, unless they have been approved and validated by WIPO. Please contact us via the WIPO website to obtain permission. For any derivative work, please include the following dis- claimer: “The Secretariat of WIPO assumes no liability or responsibility with regard to the transformation or translation of the original content.” When content published by WIPO, such as images, graphics, trademarks or logos, is attributed to a third-party, the user of such content is solely responsible for clearing the rights with the right holder(s). To view a copy of this license, please visit © WIPO, 2019 https://creativecommons.org/licenses/by/3.0/igo/ World Intellectual Property Organization The designations employed and the presentation of material 34, chemin des Colombettes, throughout this publication do not imply the expression of any P.O. Box 18 opinion whatsoever on the part of WIPO concerning the legal CH-1211 Geneva 20, status of any country, territory or area or of its authorities, Switzerland or concerning the delimitation of its frontiers or boundaries. ISBN: 978-92-805-3041-4 This publication is not intended to reflect the views of the Member States or the WIPO Secretariat. -
(Lista Da Classificação De Canais De Programação De Programadoras
CLASSIFICAÇÃO DOS CANAIS DE PROGRAMAÇÃO DAS PROGRAMADORAS REGULARMENTE CREDENCIADAS NA ANCINE 07/06/2013 Em cumprimento ao disposto no art. 22 da Instrução Normativa nº 100 de 29 de maio de 2012, a ANCINE torna pública a classificação atualizada dos canais de programação, das programadoras regularmente credenciadas na agência na presente data de 07 de junho de 2013, conforme segue: 1. CANAIS APTOS A CUMPRIR A OBRIGAÇÃO DE EMPACOTAMENTO NA CONDIÇÃO DE “CANAL BRASILEIRO DE ESPAÇO QUALIFICADO NOS TERMOS DO §5º DO ART. 17 DA LEI Nº 12.485/2011”: DE CONTEÚDO EM GERAL: Nº DE IDENTIFICAÇÃO DO NOME CANAL NA ANCINE 259.30001 CINEBRASILTV 22831.30001 CURTA! O CANAL INDEP ENDENTE 4744.30001 / 4744.30002 PRIME BOX BRAZIL / PRIME BOX BRAZIL HD 2. CANAIS APTOS A CUMPRIR A OBRIGAÇÃO DE EMPACOTAMENTO NA CONDIÇÃO DE “CANAL BRASILEIRO DE ESPAÇO QUALIFICADO NOS TERMOS DO §4º DO ART. 17 DA LEI Nº 12.485/2011”: DE CONTEÚDO EM GERAL: Nº DE IDENTIFICAÇÃO DO NOME CANAL NA ANCINE 1500.30001 CANAL BRASIL 259.30001 CINEBRASILTV 22831.30001 CURTA! O CANAL INDEP ENDENTE 4744.30001 / 4744.30002 PRIME BOX BRAZIL / PRIME BOX BRAZIL HD 1 3. CANAIS APTOS A CUMPRIR A OBRIGAÇÃO DE EMPACOTAMENTO NA CONDIÇÃO DE “CANAL BRASILEIRO DE ESPAÇO QUALIFICADO PROGRAMADO POR PROGRAMADORA BRASILEIRA INDEPENDENTE”: DE CONTEÚDO EM GERAL: Nº DE IDENTIFICAÇÃO DO NOME CANAL NA ANCINE 22267.30001/ 22267.3 0002 CENNARIUM TV / CENNA RIUM TV HD 18160.30001 CHEF TV 259.30001 CINEBRASILTV 22831.30001 CURTA! O CANAL INDEP ENDENTE 4744.30007 / 4744.30008 FASHION TV BRAZIL / FASHION TV BRAZIL HD 22269.30001 / 22269.30002 FISHTV / FISHTV HD 22831.30002 MUNDO TV 4744.30001 / 4744.30 002 PRIME BOX BRAZIL / P RIME BOX BRAZIL HD 22270.30001 SUPERMIX 12273.30001 TAL – TELEVISÃO AMÉRICA LATINA 4744.30005 / 4744.30006 TRAVEL BOX BRAZIL / TRAVEL BOX BRAZIL HD 21229.30001 WOOHOO DE CONTEÚDO INFANTIL E ADOLESCENTE: Nº DE IDENTIFICAÇÃO DO NOME CANAL NA ANCINE 1125.30001 TV RÁ TIM BUM! DE CONTEÚDO VIDEOMUSICAL: Nº DE IDENTIFICAÇÃO DO NOME CANAL NA ANCINE 4744.30003 / 4744.30004 MUSIC BOX BRAZIL / MUSIC BOX BRAZIL HD 4. -
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN). -
Los Grupos Editoriales Españoles Y Su Influencia En La Creación De Los Cánones Literarios Actuales
Grupos editoriales e influencia en los cánones literarios actuales Luis Pablo Núñez Los grupos editoriales españoles y su influencia en la creación de los cánones literarios actuales Luis PABLO NÚÑEZ CSIC, CCHS Grupos editoriales e influencia en los cánones literarios actuales Luis Pablo Núñez Debemos evocar con claridad la distinción entre el texto literario y el producto editorial. Ambos son necesarios para el buen funcionamiento de la industria del libro, pero, con creciente intensidad, el primero es arrinconado por el segundo hasta ser suplantado por él. JUAN GOYTISOLO En EE. UU. hay dos categorías en las librerías: literatura y bestsellers. Mi libro, El ocho, no era una cosa ni otra. [...] Entre la gran literatura y la literatura más popular, [...] mis libros no encajan ni en una categoría ni en la otra. KATHERINE NEVILLE Escribir historias de detectives es escribir literatura ligera, puro entretenimiento. No es como escribir propaganda política o literatura clásica. El género negro, ya se sabe, es una de las formas más populares de entretenimiento que existen. Si además intentas decir algo con ello... Bueno, yo lo he intentado, por supuesto. STIEG LARSSON Grupos editoriales e influencia en los cánones literarios actuales Luis Pablo Núñez FACTORES PARA LA HOMOGENEIZACIÓN FACTORES PARA LA HOMOGENEIZACIÓN DE LA INDUSTRIA DEL LIBRO DE LOS HÁBITOS DE LECTURA - Concentración editorial - Estrategias comerciales de difusión - Expansión (filiales) (acceso al lector a través de más medios) - Ventajas para la compra de derechos / - Librerías dependientes de grupos títulos comunes - Listados de libros más vendidos Grupos editoriales e influencia en los cánones literarios actuales Luis Pablo Núñez RANKING MUNDIAL DE EDITORES (2009) [<http://publishingperspectives.com/?p=981>] [20/02/2010] (RANKING DE 2008: Delibros 224 (2008), pp. -
Japan Content Showcase2016 マーケットレポート
Market Report 2016 Focused on latest trends 18,330 participants conducted various business meetings PARTICIPANTs Japan Content Showcase is a leading multi-content market in Asia featuring music, films, TV and animation. JCS celebrated 5th anniversary in 2016 as a joint market with TIFFCOM (the affiliated market of Tokyo International Film Festival*1), Tokyo International Music Market (TIMM) and Tokyo International Anime Festival (TIAF) and highest recorded, 18,330 participants visited the market*2. In addition to many buyers and sellers, producers and other various professionals from different fields also attended JCS 2016. *1 The only film festival in Japan approved by the International Federation of Film Producers Associations *2 Excluding live showcase outside the market Breakdown of Participants' Profession Valid responses 3,139 : Buyer's VOICE PRODUCER's VOICE Buyer's VOICE Buyer(Acquisitions) 1,189 Film Commission Film Fund 5 1 / Mary Alana Gibson Pancha Charam.P NALLIAH Irene Lloren Seller 423 Talent Management 37 Digital Media Rights LLC / USA MALAYSIAN FILM PRODUCERS ASSOCIATION /Malaysia Primetrade Asia, Inc. / Philippines Producer 340 Legal Expert/Clerk 30 The market is pretty A well organized I think it is great nice bacause I can t i m e . B e c a u s e Content Creator 299 Public Relations/Journalist 25 focus more on the event. Bravo! Asian content and buyers can actually Marketing 2 1 2 Translator/Interpreter 23 Anime. There are lots cross over from of local companies Director 74 Government Agency/Embassy 20 music to film. It t h e U S h a s n eve r wo u l d b e g re a t Festival/Market 66 Publisher 1 8 worked with before and that is kind of o p p o r t u n i t y fo r Filmmaker 57 Other 223 important. -
Classpass Is a Monthly Membership That Grants Members Access to Thousands of Different Class at Studios and Gyms in 39 Cities Worldwide
Backgrounder Overview: ClassPass is a monthly membership that grants members access to thousands of different class at studios and gyms in 39 cities worldwide. Memberships range depending on city and the number of classes preferred to take. ClassPass partners with over 8,500 fitness studios worldwide and offers options in boxing, martial arts, yoga, barre, pilates, spinning, HIIT training and much more. History: Founder of ClassPass, Payal Kadakia, found a way to channel her passion for dance into her work. As a graduate of MIT, Kadakia and her partner Mary Briggins began working on a startup called Classtivity which participated in a New York accelerator program TechStars. After participating, her original model transformed greatly. Classtivity went from a $49 monthly promotion to a $99 different pricing structure. Classtivity changed the name to ClassPass where they pitched a monthly gym-like membership for people who want a diverse exercise experience. By partnering with hundreds of studios, ClassPass offers its customers special prices at a variety of studios. Since its launch, ClassPass has had 30 million reservations made, partnered with 8,500 studios and branched to 39 cities. With a total of $84 million in seed money raised, ClassPass continues to move forward and expand. Headquarters: ClassPass headquarters are located in New York City, New York with additional offices in Sydney, San Francisco, and London. Founder & Management Team: Founder: Payal Kadakia Payal has been a dancer her entire life. In 2011, Payal’s passion for dance fueled her to start ClassPass. Before founding ClassPass, Payal graduated from MIT, worked as a consultant at Bain & Company and worked in the Strategy and Business Development department at Warner Music Group. -
French Cinema Saw International Box Office Receipts Shrink, but Retained Its Place in Foreign Markets and Festivals
23 rd RENDEZ-VOUS WITH FRENCH FILMS ON THE INTERNATIONAL MARKETPLACE FRENCH AND AT FESTIVALS CINEMA IN 2020 PARIS / JANUARY 13 - 15 2021 RESULTS FOR FRENCH FILMS ON THE INTERNATIONAL MARKET PLACE IN 2020 13.7* 86.6* MILLION MILLION ADMISSIONS EUROS down 69.8%* compared to 2019 IN RECEIPTS Note: In France, French films generated down 68.6%* compared to 2019 29.2** million admissions in 2020, down 60.7%** compared to 2019 IN 2020, FRENCH CINEMA SAW INTERNATIONAL BOX OFFICE RECEIPTS SHRINK, BUT RETAINED ITS PLACE IN FOREIGN MARKETS AND FESTIVALS » 9.5* million admissions (69.5%* of the total) for majority-French productions (38 million in 2019, down 75%*) » 10.6* million admissions (77.6%* of the total) for French-language films (26.9 million in 2019, down 60.6%*) » 611* French films on release in foreign theaters (869 in 2019, down 29.7%*) » 1,398* releases of French films (2,836 in 2019, down 50.7%*) » 2* French films sold more than 1 million tickets abroad (7 in 2019) » 28* French films drew more than 100,000 spectators abroad (68 in 2019) » Russia becomes the leading territory in terms of admissions for French films in 2020, ahead of Spain and Italy* » 163 French films were selected across 8 major international film festivals*** and accounted for 19.5% of the films presented (199 and 19% in 2019, down 18.1% and up 2.6%) Note: *The figures given in this brochure are provisional and non-exhaustive. The definitive figures will be available in the fall and will inevitably be higher. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.