Registration Document 2013 and Annual Financial Report
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An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
Statutory Auditors' Report
Profile 2 INFORMATION ABOUT THE COMPANY Message from the Chairman and Chief Executive 3 6 AND ITS CAPITAL 215 6.1 Information about TF1 216 PRESENTATION 6.2 Legal environment 226 1 OF THE TF1 GROUP 5 6.3 Capital 228 1.1 The management team 6 6.4 Ownership structure 235 1.2 Simplified diagram of the group’s businesses 6.5 Stock market information 238 at 18/02/2014 7 1.3 Group activities 8 CORPORATE SOCIAL RESPONSIBILITY 241 1.4 TF1 group history and 2013 key events 14 7 Foreword 242 1.5 Group indicators 19 7.1 Social information 245 1.6 Research and Development expenditure 23 7.2 Environmental information 258 TABLE OF CONTENTS 7.3 Societal information 266 REPORT OF THE CHAIRMAN 2 OF THE BOARD OF DIRECTORS 25 GENERAL MEETING 281 2.1 Composition of the Board of Directors and Board 8 Committees 26 8.1 Taking part in the Combined General Meeting of April 17, 2014 282 2.2 Chairman’s report 39 8.2 Agenda 285 2.3 Report on remuneration 62 8.3 Report of the board of Directors 2.4 Risk factors 70 on the resolutions and statement of the reasons for the resolutions 286 MANAGEMENT REPORT 8.4 Presentation of the draft resolutions 294 3 OF THE BOARD OF DIRECTORS 79 3.1 2013 Market trends 81 ADDITIONAL INFORMATION 299 3.2 2013 Activity and results 93 9 9.1 Person responsible for the registration 3.3 Available information in other part of the document and information concerning registration document 107 the verification of the accounts 300 3.4 Statement of company operations 9.2 Relations with shareholders 302 over the last five business years 108 9.3 -
Grand Slams’ Are Iconic Global Sports Competitions And, As Proven by the 2017 Australian Open, Capable of Drawing Blockbuster Audiences
The four tennis ‘grand slams’ are iconic global sports competitions and, as proven by the 2017 Australian Open, capable of drawing blockbuster audiences. Roger Federer’s victory over Rafael Nadal brought Eurosport its largest-ever audience for a tennis match with 20.7 million viewers across Europe, while in the host country, the 3.6-million (4.4-million peak) figure was the highest audience for the final in over a decade. The prestige and image attached to grand slam tennis is not lost on the sport’s broadcast partners. For domestic broadcasters this has led to a continuous fee increase for the quartet of slams. Using Sportcal’s Revenue Dashboard – available to subscribers of the Media Intelligence Centre – to analyse the domestic revenue generated, Sportcal Insight examines how the grand slams have enhanced their domestic rights revenues. Currency conversions, where possible, have been done at the time of the deal and modelled data has been used for incremental rises during a rights agreement. All grand slams have long-running domestic deals with established broadcasters. This, it can be argued, limits competition and the potential for mushrooming revenues, resulting in a more modest rise than might otherwise be the case. In Australia, free-to-air network Seven’s most recent deal with Tennis Australia is under investigation by the country’s corporate watchdog because a competitive bidding process wasn’t launched, amid claims that the governing body could have raised an extra A$50 million ($45 million) had the rights been taken to the open market. The 2017 women’s Australian Open final attracted 360,000 more viewers than the final of T20 cricket’s Big Bash League (aired on another free-to-air broadcaster, Network Ten, at the same time). -
The Transition to Digital Television*
DIGITAL TELEVISION 1 The Transition to Digital Television* Jérôme Addaa and Marco Ottavianib University College London; London Business School This paper studies the role of economic policy for the transition from analogue to digital television, with particular attention to the switch off of the analogue terrestrial signal. The analogue signal cannot be credibly switched off until almost all viewers have migrated to digital, due to universality of access to television. But before switch off, only part of the population can be reached with the digital signal. In addition, those who are reached need to spend more to upgrade their reception equipment than after switch off, because the capacity to increase the power of the digital signal will be made available only then. After reviewing the competitive structure and the role of government intervention in television markets, we present the early experience of a number of industrialised countries in the transition to digital television. We then formulate a micro-econometric model of digital television adoption by individual viewers. The model is calibrated to UK data and simulated to predict the impact of government policies on the take up of digital television. Policy makers can affect the speed of take up of digital television by: (i) controlling the quality of the signals and the content of public service broadcasters; (ii) intervening in the market for digital equipment with subsidies; and (iii) publicising the conditions and date of switch off of the analogue signal. We find that if the analogue terrestrial signal is switched off conditionally on aggregate adoption, strategic delays possibly arise and expectations affect the success of the switch off policy. -
Nbcuniversal International Television Production, Mediengruppe RTL Deutschland and TF1 Enter Ground- Breaking Partnership to Produce US Procedural Dramas
NBCUniversal International Television Production, Mediengruppe RTL Deutschland and TF1 enter ground- breaking partnership to produce US procedural dramas LONDON – 13 April 2015: NBCUniversal International Television Production (NBCU-ITVP), Mediengruppe RTL Deutschland and TF1 today announce that they have entered into an international co-production partnership to produce original US-style TV procedural dramas, allowing these leading international broadcasters to secure a pipeline of high quality, US-style procedural content from NBCUniversal. It is the first time that European broadcasters have partnered with a major US media company for a deal of this nature. This unique tripartite collaboration, conceived by Michael Edelstein, President of NBCU-ITVP, brings together leading international broadcasters – Mediengruppe RTL Deutschland and TF1 – with a major US media company that produces world class content across multiple genres. The partnership is designed to produce up to three new dramas over two years and will benefit from NBCUniversal’s wealth of expertise in producing high-quality, long-running procedural dramas such as Law & Order and House. Commenting on the partnership, Michael Edelstein said: “Procedural drama is a highly popular TV format in the global marketplace due to its episodic, rather than serialized, format. This pioneering venture with RTL and TF1 has the ability to create a number of exciting new series and represents the bold approach of these forward thinking broadcasters. For the first time, our partners will have the opportunity to commission US procedural drama directly from a company with a proven track record of success in the genre.” Procedural drama is particularly valuable to European broadcasters who are able to schedule programs with far greater freedom – episodes can be stacked and aired out of sequence. -
Catalogue-2018 Web W Covers.Pdf
A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz. -
Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students. -
View Annual Report
2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes. -
A Comparative Analysis of Media Freedom and Pluralism in the EU Member States
DIRECTORATE GENERAL FOR INTERNAL POLICIES POLICY DEPARTMENT C: CITIZENS' RIGHTS AND CONSTITUTIONAL AFFAIRS CIVIL LIBERTIES, JUSTICE AND HOME AFFAIRS A comparative analysis of media freedom and pluralism in the EU Member States STUDY Abstract This study was commissioned by the European Parliament's Policy Department for Citizens' Rights and Constitutional Affairs at the request of the LIBE Committee. The authors argue that democratic processes in several EU countries are suffering from systemic failure, with the result that the basic conditions of media pluralism are not present, and, at the same time, that the distortion in media pluralism is hampering the proper functioning of democracy. The study offers a new approach to strengthening media freedom and pluralism, bearing in mind the different political and social systems of the Member States. The authors propose concrete, enforceable and systematic actions to correct the deficiencies found. PE 571.376 EN ABOUT THE PUBLICATION This research paper was requested by the European Parliament's Committee on Civil Liberties, Justice and Home Affairs (LIBE) and commissioned, overseen and published by the Policy Department for Citizens' Rights and Constitutional Affairs. Policy Departments provide independent expertise, both in-house and external, to support EP committees and other parliamentary bodies in shaping legislation and exercising democratic scrutiny over EU external and internal policies. To contact the Policy Department for Citizens' Rights and Constitutional Affairs or to subscribe -
THÈSE DE DOCTORAT De L’Université De Recherche Paris Sciences Et Lettres PSL Research University
THÈSE DE DOCTORAT de l’Université de recherche Paris Sciences et Lettres PSL Research University Préparée à MINES ParisTech Concurrence et régulation des plateformes médias financées par la publicité École doctorale no396 ECONOMIE, ORGANISATION, SOCIÉTÉ Spécialité ECONOMIE ET FINANCE COMPOSITION DU JURY : M. Pierre Dubois Toulouse School of Economics (Rapporteur) M. Xavier d’Haultfoeuille Crest-Ensae (Rapporteur) Mme. Margaret K. Kyle Mines ParisTech Soutenue par Jiekai ZHANG (Présidente du jury) Dirigée par Olivier Bomsel M. Marc Ivaldi Toulouse School of Economics le 12 Septembre 2017 (Examinateur) M. Olivier Bomsel Mines ParisTech (Examinateur) Acknowledgments I would like to firstly thank my supervisor, Olivier Bomsel, for giving me the opportunity to work for his chair and to get in touch with different media companies. It is a useful starting point for my thesis. I am grateful to Marc Ivaldi for having been a great support during my difficult times. I am thankful to Nicolas Bouy who has helped me to collect data from the Conseil Supérieur de l’Audiovisuel and from whom I learnt a lot about the French television industry. I also wish to thank Margaret Kyle, Pierre Fleckinger, Petyo Bonev, Jean-Michel Loubes and Jocelyn Donze, for having taken time when I needed help. I thank Pierre Dubois and Xavier d’Haultfoeuille for having kindly accepted to evaluate my work. I am indebted to CREST that generously financed the last year of my PhD and provided me an excellent research environment. I specially thank Laurent Linnemer and Alessandro Iaria for their advice, encouragement and kindness. I am also thankful to my three colleagues on empirical IO: Julien, Hugo and Ao. -
Téléchargez LE CATALOGUE 2021
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Industrial Trajectory and Regulation of the French TV-Market Victor Lavialle
Industrial trajectory and regulation of the French TV-market Victor Lavialle To cite this version: Victor Lavialle. Industrial trajectory and regulation of the French TV-market. Economics and Fi- nance. Université Paris sciences et lettres, 2019. English. NNT : 2019PSLEM049. tel-02439079 HAL Id: tel-02439079 https://pastel.archives-ouvertes.fr/tel-02439079 Submitted on 14 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Prepar´ ee´ a` MINES ParisTech Trajectoire Industrielle et Reglementation´ de l’Audiovisuel en France Industrial Trajectory and Regulation of the French TV-market Soutenue par Composition du jury : Victor Lavialle Franc¸oise Benhamou Le 17 decembre´ 2019 Professeure d’Economie,´ Universite´ Presidente´ Paris 13 Marc BOURREAU Professeur d’Economie,´ Tel´ ecom´ Paris- Rapporteur ´ o Tech Ecole doctorale n 396 Paul BELLEFLAMME Economie,´ Organisation, Professeur, UC Louvain Rapporteur Societ´ e´ Thomas PARIS Professeur, HEC Paris Examinateur Elisabeth´ FLURY-HERARD¨ Vice-presidente´ de l’Autorite´ de la Con- Examinatrice Specialit´ e´ currence Olivier BOMSEL Economie´ et Finance Professeur d’Economie,´ Mines Paris- Directeur de these` Tech Acknowledgements First and foremost, I would like to express my gratitude to Olivier Bomsel, for trusting me with this challenging research topic, and for providing me with a dedicated and pedagogical supervision.