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Jennifer Ricchiazzi, Csa
JENNIFER RICCHIAZZI, CSA www.jenniferricchiazzi.com Selected Film & Television Credits FUTRA DAYS (Pre-Production/Currently Casting) Producer: Ryan David, Orian Williams, David Zonshine. Director/Writer: Ryan David. SHOOTING HEROIN (Post-Production) Producer: Mark Joseph. Director/Writer: Spencer Folmar. Starring: Alan Powell, Cathy Moriarty, Sherilyn Fenn, Nicholas Turturro THE UNSPOKEN (Pre-Production) Winterland Pictures. Producers: Lionel Hicks, Rebecca Tranter. Director/Writer: Andrew Hunt FIGHTING CHANCE (Pre-Production) Producers: Scott Rosenfelt, Ron Winston. Director: Mikael Salomon FALL OF EDEN (Pre-Production) Producer: Mark G Mathis. Director: Susan Dynner. Attached: Dylan McDermott, Brianna Hildebrand. BLINDED BY ED (Pre-Production) Producer: Kristy Lash. Director/Writer: Chris Fetchko. Attached: Katrina Bowden. REAGAN (Pre-Production) Independent. Producer: Mark Joseph; Executive Producer: Dawn Krantz. Director: John G. Avildsen. Attached: Jon Voight and Dennis Quaid. HAUNTING OF THE MARY CELESTE Vertical Entertainment. Producers: Norman Dreyfuss, Brian Dreyfuss, Justin Ambrosino. Writer: David Ross; Executive Producers: Eric Brodeur, Jerome Oliver. Director: Shana Betz. Starring: Emily Swallow. SOLVE Mobile Series. Vertical Networks; Snapchat. THE STOLEN Independent/Cork Films Ltd. Producer/Writer: Emily Corcoran; Executive Producer: Julia Palau. Director/Co-Writer: Niall Johnson. Starring: Alice Eve, Jack Davenport. THE CLAPPER (Tribeca Film Festival 2017) Independent. Producer: Robin Schorr. Director: Dito Montiel. Starring: -
Annual Report 2019 Key Figures
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % RTL Group share price development PROSIEBENSAT1 for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€)(%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00***** 4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
ALSCW 17Th Annual Conference
ALSCW 17th Annual Conference Friday, October 14, 2011 – Sunday, October 16, 2011 with special thanks to the Boston University Center for the Humanities (Professor James Winn, Director) We warmly invite non-members of the ALSCW to register for this conference and enjoy our stimulating menu of events and the convivialities of the weekend. If you would like to join our Association and enjoy all the privileges of membership—including a member-rate for conference registration—please visit our website ALSCW.org We look forward to seeing our members again and to welcoming new members. Thursday October 13 Prologue to the Conference 7:00pm: A Novelist and a Poet: Tim Parks and Mark Halliday Reading The Poetry Reading Series at Boston University Presents TIM PARKS and MARK HALLIDAY Thursday October 13th at 7 p.m. The Castle, 225 Bay State Road Supported by the BU Center for the Humanities, College of General Studies, and the Association of Literary Scholars, Critics, and Writers Free and open to the public Please contact Meg Tyler ([email protected], 617-358-4199) with any questions Mark Halliday teaches at Ohio University. His books of poems are: Little Star (William Morrow, 1987), Tasker Street (University of Massachusetts, 1992), Selfwolf (University of Chicago, 1999), Jab (University of Chicago, 2002), and Keep This Forever (Tupelo Press, 2008). His critical study Stevens and the Interpersonal appeared in 1991 from Princeton University Press. He co-authored with Allen Grossman a book on poetics, The Sighted Singer (John Hopkins University Press, 1991). Tim Parks was born in Manchester in 1954, and studied at Cambridge and Harvard before moving permanently to Italy in 1981. -
Labor Relations, 16Mm Film and Euston Films
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play. -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
Our Strategy OUR STRATEGY FOUR KEY TRENDS SHAPING RTL GROUP’S STRATEGY THREE PRIORITIES for LONG-TERM GROWTH
Our strategy OUR STRATEGY FOUR KEY TRENDS SHAPING RTL GROUP’S STRATEGY THREE PRIORITIES FOR LONG-TERM GROWTH 1 / CREATE MUST-SEE TV 1 / COMPETITION 4 / CONSOLIDATION What we said What we achieved What’s next As video offers become ever more In recent years, the media industry ubiquitous, the television market moved more towards consolidation – “Finding the new hits – both big Mediengruppe RTL Deutschland signed Further strengthen the development of continues to undergo fragmentation. 3 / COMPLEXITY in broadcast, content and digital. and small – is a shared priority a deal with NBC Universal for the local fiction and factual entertainment Lower barriers to entry make In the media market some of the for both our broadcasters and our development of US procedural dramas formats (for example: Vox has launching new linear TV channels Digitisation also increases the biggest mergers are being proposed: content production arm, as they consistently generate higher commissioned a third season of local easier than in the past. This importance of technology – whether AT&T and Time Warner announced FremantleMedia.”1 ratings than serialised dramas on free-TV fiction series Club der roten Bänder) fragmentation results in increasing for aggregating content or for plans for a merger, Liberty Global is channels in Europe. In November 2016, competition for viewing time advertising sales. For example, a actively investing in the European “We have to develop our own Gone was announced as the first drama UFA Fiction will produce Deutschland 86 and audience – both linear and non- multi-channel network (MCN) needs markets, as is Discovery, while 21st formats because they strengthen from this partnership in collaboration with Amazon Prime linear. -
Annual Report 2019
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % PROSIEBENSAT1 RTL Group share price development for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€)(%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00***** 4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
Annual Report 2015 Entertain. Inform. Engage
Annual Report 2015 Entertain. Inform. Engage. Key fi gures SHARE PRICE PERFORMANCE 30/04/2013 – 31/12/2015* + 42.7 % )RTL GROUP + 54.5 % MDAX + 48.1 % DJ STOXX 600 INDEX = 100 * RTL Group shares have been listed in the Prime Standard of the Frankfurt Stock Exchange since 30 April 2013. RTL GROUP REVENUE SPLIT In 2015, TV advertising accounted for 49.4 per cent of RTL Group’s total revenue, making the Group one of the most diversified groups when it comes to revenue. Content represented 22 per cent of the total, while greater exposure to fast-growing digital revenue streams and higher margin platform revenue will further improve the mix. 11.8 % OTHER 8.4 % DIGITAL 49.4 % TV ADVERTISING 22.0 % CONTENT 4.1 % PLATFORM REVENUE 4.3 % RADIO ADVERTISING Key fi gures REVENUE 2011 – 2015 (€ million) EBITA 2011 – 2015 (€ million) 15 6,029 15 1,167 14 5,808 14 1,144* 13 5,824* 13 1,148** 12 5,998 12 1,078 11 5,765 11 1,134 * Restated for IFRS 11 * Restated for changes in purchase price allocation ** Restated for IFRS 11 NET PROFIT ATTRIBUTABLE TO RTL GROUP SHAREHOLDERS 2011 – 2015 (€ million) EQUITY 2011 – 2015 (€ million) 15 789 15 3,409 14 652* 14 3,275* 13 870 13 3,593 12 597 12 4,858 11 696 11 5,093 * Restated for changes in purchase price allocation * Restated for changes in purchase price allocation TOTAL DIVIDEND/ MARKET CAPITALISATION* 2011 – 2015 (€ billion) DIVIDEND YIELD PER SHARE 2011 – 2015 (€ )(%) 15 11.9 15 4.00* 4.9 14 12.2 14 5.50** 6.8 13 14.4 13 7.00*** 10.0 12 11.7 12 10.50 13.9 11 11.9 11 5.10 6.6 * As of 31 December * Including -
Annual Report 2019
ANNUAL REPORT 2019 ENTERTAIN. INFORM. ENGAGE. KEY FIGURES SHARE PERFORMANCE 1 January 2019 to 31 December 2019 +31.15 % MDAX +16.41 % SXMP –5.82 % RTL GROUP INDEX = 100 –10.55 % PROSIEBENSAT1 RTL Group share price development for January to December 2019 based on the Frankfurt Stock Exchange (Xetra) against MDAX, Euro Stoxx 600 Media (SXMP) and ProSiebenSat1 Fremantle’s America’s Got Talent: The Champions is a prime-time hit on NBC. 2 RTL Group Annual Report 2019 Key figures REVENUE 2015 – 2019 (€ million) EBITA 2015 – 2019 (€ million) 19 6,651 19 1,139 18 6,505 18 1,171 17 6,373 17 1,248 16 6,237 16 1,205 15 6,029 15 1,167 PROFIT FOR THE YEAR 2015 – 2019 (€ million) EQUITY 2015 – 2019 (€ million) 19 864 19 3,825 18 785 18 3,553 17 837 17 3,432 16 816 16 3,552 15 863 15 3,409 MARKET CAPITALISATION* 2015 – 2019 (€ billion) TOTAL DIVIDEND / DIVIDEND YIELD PER SHARE 2015 – 2019 (€) (%) 19 6.8 19 NIL* – 18 7.2 18 4.00** 6.3 17 10.4 17 4.00*** 5.9 16 10.7 16 4.00**** 5.4 15 11.9 15 4.00*****4.9 *As of 31 December * On 2 April 2020, RTL Group’s Board of Directors decided to withdraw its earlier proposal of a € 4.00 per share dividend in respect of the fiscal year 2019, due to the coronavirus outbreak. No dividend will now be proposed to the Annual Meeting of Shareholders on 30 June 2020. -
2020 Financial Statements for Bertelsmann SE & Co. Kgaa
Financial Statements and Combined Management Report Bertelsmann SE & Co. KGaA, Gütersloh December 31, 2020 Contents Balance sheet Income statement Notes to the financial statements Combined Management Report Responsibility Statement Auditor’s report 1 FINANCIAL STATEMENTS Assets as of December 31, 2020 in € millions Notes 12/31/2020 12/31/2019 Non-current assets Intangible assets Acquired industrial property rights and similar rights as well as licenses to such rights 1 9 8 9 8 Tangible assets Land, rights equivalent to land and buildings 1 306 311 Technical equipment and machinery 1 1 1 Other equipment, fixtures, furniture and office equipment 1 42 47 Advance payments and construction in progress 1 7 2 356 361 Financial assets Investments in affiliated companies 1 15,974 14,960 Loans to affiliated companies 1 230 712 Investments 1 - - Non-current securities 1 1,461 1,252 17,665 16,924 18,030 17,293 Current assets Receivables and other assets Accounts receivable from affiliated companies 2 4,893 4,392 Other assets 2 94 148 4,987 4,540 Securities Other securities - - Cash on hand and bank balances 3 2,476 513 7,463 5,053 Prepaid expenses and deferred charges 4 20 20 25,513 22,366 2 Equity and liabilities as of December 31, 2020 in € millions Notes 12/31/2020 12/31/2019 Equity Subscribed capital 5 1,000 1,000 Capital reserve 2,600 2,600 Retained earnings Legal reserve 100 100 Other retained earnings 6 5,685 5,485 5,785 5,585 Net retained profits 898 663 10,283 9,848 Provisions Provisions for pensions and similar obligations 7 377 357 Provision -
Annual Financial Statements and Combined Management Report Bertelsmann SE & Co. Kgaa, Gütersloh December 31, 2016
Annual Financial Statements and Combined Management Report Bertelsmann SE & Co. KGaA, Gütersloh December 31, 2016 Annual financial statements 2016 Contents Balance sheet Income statement Notes “List of shareholdings” annex to the notes in accordance with section 285 (11) HGB Combined management report 2 Annual financial statements 2016 Bertelsmann SE & Co. KGaA Balance sheet as of December 31, 2016 Assets 12/31/2016 Previous year Notes € € millions Fixed assets Intangible assets Acquired patents and similar rights and licenses to such rights (1) 849,173.00 1 Advance payments (1) - - 849,173.00 1 Tangible assets Land, rights equivalent to land, and buildings (1) 294,086,838.29 254 Technical equipment and machinery (1) 338,777.00 - Other equipment, fixtures, furniture, and office equipment (1) 54,222,767.11 57 Advance payments and construction in progress (1) 9,127,130.40 10 357,775,512.80 321 Financial assets Investments in affiliated companies (1) 13,348,864,049.21 12,671 Loans to affiliated companies (1) - 500 Participations (1) 21,300.00 - Long-term securities (1) 1,365,143,791.75 1,185 14,714,029,140.96 14,356 15,072,653,826.76 14,678 Current assets Receivables and other assets Accounts receivable from affiliated companies (2) 4,018,087,691.42 2,987 Other assets (2) 49,306,559.25 95 4,067,394,250.67 3,082 Securities Other securities 1.00 - Cash on hand and bank balances (3) 325,615,627.30 500 4,393,009,878.97 3,582 Prepaid expenses and deferred charges (4) 16,552,761.48 12 19,482,216,467.21 18,272 3 Annual financial statements 2016 Bertelsmann SE & Co. -
BAM Announces Cast and Creative Team for the Master Builder—Directed by Andrei Belgrader
BAM announces cast and creative team for The Master Builder—directed by Andrei Belgrader World premiere production runs May 12–Jun 9 at BAM Harvey Theater Bloomberg is the BAM 2013 Winter/Spring Season sponsor Bank of America is the proud sponsor of BAM 2013 Theater The Master Builder By Henrik Ibsen Translated by David Edgar Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St) May 12—Jun 9 (press opening May 19) Tickets: start at $25 Artist Talk: John Turturro and Andrei Belgrader May 1 at 7pm BAMcafé Tickets: $15 ($7.50 for Friends of BAM) Brooklyn, NY/Feb 21, 2013—A new BAM production of Henrik Ibsen’s The Master Builder marks the return of actor John Turturro in the title role and reprises Turturro’s work with director Andrei Belgrader (Endgame, 2008 Spring Season). Casting for the four-week run is complete and features Katherine Borowitz (Aline Solness), Ken Cheeseman (Dr. Herdal), Julian Gamble (Knut Brovik), Kelly Hutchinson (Kaja Fosli), Max Gordon Moore (Ragnar Brovik), and Wrenn Schmidt (Hilde Wangel), with Turturro in the role of Halvard Solness. In addition to director Belgrader, the creative team features set designer Santo Loquasto, costume designer Marco Piemontese, sound designer/composer Ryan Rumery, and lighting designer James F. Ingalls. The Master Builder was written in 1892 and is regarded as one of the Norwegian playwright’s most revealing and significant works. It tells the story of Halvard Solness, a middle-aged architect who comes to believe he has willed his professional accomplishments into reality, as though imbued with a God-given power.