Online Video in Russia
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Organisational Structure, Programme Production and Audience
OBSERVATOIRE EUROPÉEN DE L'AUDIOVISUEL EUROPEAN AUDIOVISUAL OBSERVATORY EUROPÄISCHE AUDIOVISUELLE INFORMATIONSSTELLE http://www.obs.coe.int TELEVISION IN THE RUSSIAN FEDERATION: ORGANISATIONAL STRUCTURE, PROGRAMME PRODUCTION AND AUDIENCE March 2006 This report was prepared by Internews Russia for the European Audiovisual Observatory based on sources current as of December 2005. Authors: Anna Kachkaeva Ilya Kiriya Grigory Libergal Edited by Manana Aslamazyan and Gillian McCormack Media Law Consultant: Andrei Richter The analyses expressed in this report are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. CONTENT INTRODUCTION ...........................................................................................................................................6 1. INSTITUTIONAL FRAMEWORK........................................................................................................13 1.1. LEGISLATION ....................................................................................................................................13 1.1.1. Key Media Legislation and Its Problems .......................................................................... 13 1.1.2. Advertising ....................................................................................................................... 22 1.1.3. Copyright and Related Rights ......................................................................................... -
Telecoms & Media 2021
Telecoms & Media 2021 Telecoms Telecoms & Media 2021 Contributing editors Alexander Brown and David Trapp © Law Business Research 2021 Publisher Tom Barnes [email protected] Subscriptions Claire Bagnall Telecoms & Media [email protected] Senior business development manager Adam Sargent 2021 [email protected] Published by Law Business Research Ltd Contributing editors Meridian House, 34-35 Farringdon Street London, EC4A 4HL, UK Alexander Brown and David Trapp The information provided in this publication Simmons & Simmons LLP is general and may not apply in a specific situation. Legal advice should always be sought before taking any legal action based on the information provided. This information is not intended to create, nor does receipt of it constitute, a lawyer– Lexology Getting The Deal Through is delighted to publish the 22nd edition of Telecoms & Media, client relationship. The publishers and which is available in print and online at www.lexology.com/gtdt. authors accept no responsibility for any Lexology Getting The Deal Through provides international expert analysis in key areas of acts or omissions contained herein. The law, practice and regulation for corporate counsel, cross-border legal practitioners, and company information provided was verified between directors and officers. May and June 2021. Be advised that this is Throughout this edition, and following the unique Lexology Getting The Deal Through format, a developing area. the same key questions are answered by leading practitioners in each of the jurisdictions featured. Lexology Getting The Deal Through titles are published annually in print. Please ensure you © Law Business Research Ltd 2021 are referring to the latest edition or to the online version at www.lexology.com/gtdt. -
Tvigle: Unique Opportunity to Capitalize on Explosive Growth in Russia’S Emerging Online Video Market Through Industry Leader
Strictly private & confidential Tvigle: Unique opportunity to capitalize on explosive growth in Russia’s emerging online video market through industry leader Investor Presentation May 10, 2013 Contents Section 1 Unique Russian online video market opportunity 5 Section 2 Multidimensional business on the cutting edge of modern video 10 technology and media Section 3 Growth targets and high operating efficiency 17 Section 4 Key conclusions for investors 22 APPENDIX A Company details 2 Executive summary Opportunity to enter emerging online in-stream advertising segment through investment in leading Russian online video portal • Tvigle, the pioneer and leader in online video in Russia, is seeking an equity investment to help fund its exceptional growth potential • The CEO and founder has scaled the business, established a top-tier management team and developed a strategy to create a highly profitable leader in a rapidly developing market • Tvigle’s unique strategy has allowed the Company to grow its viewer base to more than 10 million Unique Monthly Viewers (“UVM”) and generate advertising revenue of $10 million gross* (2012) to significantly outperform Tvigle’s peers in terms of return on invested capital • The platform has significant operational leverage as online video emerges as a mass medium in Russia; – Russia’s internet audience has become the largest in Europe (55 mln. users) and is starting to actively watch content online – Each acquired Tvigle viewer will view content longer over time, driving revenue growth as the site’s user base -
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. -
Downside up Charitable Fund
Annual Report Downside Up Charitable Fund July 2016 - June 2017 Annual Report Downside Up Charitabledownside Fund, 2016 - 2017 up1 Dear Friends! downside up On September 15th, 2017, Downside Up Charitable Fund turned 20! In this annual report, we have not only collected the results from the last academic year, but also recalled important achievements of the Fund over the past 20 years. During this time, we have come a long way. We Thanks to a highly professional team, the Fund started as a small organization that helped a stands firmly on its feet and continues to few dozen families, to the Fund as it is now. A improve family support programmes. fund that supports thousands of people with Down syndrome in Russia and beyond. In early I want to thank everyone who is involved in the years when we started working people with Fund's activities - employees, colleagues, donors Down syndrome were rarely seen in society. and our partners! I want to express my sincere Parents were afraid to go out with their child admiration to our children with Down and there was an acute shortage of information syndrome and their loved ones! Thanks to our about where they could find help. Now every common efforts in Russia, there have been Let people with Down family can get information, support and many positive changes in the lives of people participate in Downside Up programmes. Not with Down syndrome and the environment in syndrome dream about the only can they choose services and classes for which they live. As I blow out the 20 candles on future and let their dreams their child in Downside Up but also in other our birthday cake, I want to make a wish with organisations that have become available. -
Television in Russia Is the Concept of PSB Relevant?
Television in Russia Is the Concept of PSB Relevant? Elena Vartanova & Yassen N. Zassoursky In the traditional Western discourse on commercial and public service broad- casting, little attention was given to the state TV model which was present in many countries of the ‘Socialist’ block, and in many Asian states as well. Strictly speaking, public service broadcasting [PSB] is not a common con- cept shared and implemented by different countries in a similar way, but rather a continuum that implies different modes of interaction between the society, audience, state, and social institutions. In many European countries – France, Germany, Netherlands, Finland, Spain, – PSB practices indicate varying degrees of control and interference from political forces, governments and state agencies (Weymouth and Lamizet, 1996, Euromedia Research Group, 1997). The model of Western European PSB provides clear evidence that the state as a social agent is not an entirely antagonistic force to public service. On the contrary, “some forms of accountability to (political representatives of) the public, other than through market forces”, was traditionally considered a key public service element (McQuail & Siune, 1998: 24). This has led to the acceptance of some forms of content regulation embodying positive and negative criteria which, in turn, were shaped by the need to serve the pub- lic interest more than commercial, political or consumerist interests of soci- ety and audience. In Western Europe, there were fierce tensions between the goals set by ‘society’ in relation to the public interest and demands of the audience as consumers (McQuail, 2000:157). Dissimilar to this, post-Socialist societies experienced another tension paradigm. -
SVOD Digest: Table of Contents
SVOD Digest: Table of Contents Published in November 2017, the SVOD Digest report provides succinct state-of-play detail for 337 SVOD platforms across 50 countries. Price: £500/€600/$650 The 54-page report saves time for busy executives by presenting tabular information with one-page per country (OK – India and the US are two pages). Not every platform is listed – just the main ones in each country. We have concentrated on platforms providing TV episodes and movies – so not sports, for example. Our subscriber estimates only include paying subscribers at end-2017 – not trialists or those receiving free access. SVOD Digest platforms covered by country Country No of Platforms covered platforms Argentina 9 Netflix; Amazon Prime Video; Blim; Claro Video; Telefonica On Video; Arnet Play; HBO; Crackle; Qubit Australia 6 Netflix; Amazon Prime Video; Stan; Foxtel Play; YouTube Red; Hayu Austria 10 Netflix; Amazon Prime Video; Amazon Channels; Sky Ticket; Maxdome; A1 Now; TV Now Plus; Flimmit; Rakuten; 3TV Belgium 7 Netflix; Amazon Prime Video; Videoland; Yelo; RTL a l'Infiniti; Movies & Series; Be TV Brazil 6 Netflix; Amazon Prime Video; Claro Video; Globo Play; HBO; Crackle Bulgaria 4 Netflix; Amazon Prime Video; Voyo; Maxi Canada 5 Netflix; Amazon Prime Video; CraveTV; Illico; Fibe Alt TV Chile 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit China 5 Youku Tudou; Iqiyi; Tencent Video; TMall Box Office; LeEco Colombia 8 Netflix; Amazon Prime Video; Blim; Claro Video; Movistar Play; HBO; Crackle; Qubit SVOD -
Reimagining TV Viewing Jack Davison, Executive Vice President, 3Vision
Reimagining TV Viewing Jack Davison, Executive Vice President, 3Vision CTAM Europe OTT Symposium 2019 CTAM Europe OTT Symposium 2019 Growing complexities Media Direct to SVOD Short Form & Content AVOD Consolidation Consumer Growth Social Market 2 CTAM Europe OTT Symposium 2019 Media Consolidation AT&T Walt Disney Discovery Comcast & Time Warner & 21st Century Fox & Scripps & Sky $85 billion $72 billion $15 billion $39 billion Mergers March 2019 March 2019 March 2018 October 2018 Discovery, ProSieben TF1, M6 BBC Studios TBS, TV Tokyo, & additional partners & France Television & ITV WOWOW & others 7TV Salto Britbox Paravi Alliances Launched but rebuilding Launch date tbc UK launch date tbc Launched April 2018 3 CTAM Europe OTT Symposium 2019 Direct to Consumer Disney+ Unnamed Shudder Disney NBCU AMC Launching globally US & UK & others tbc US, Canada, UK & Germany SVOD AVOD on Pay TV, SVOD OTT SVOD HBO Hayu Crackle WarnerMedia NBC Universal Sony US, ESP, Nordics & others UK, Nordics, US only SVOD Australia & Canada AVOD Starz Play Hulu Eurosport Starz/Lionsgate Disney, Comcast/NBCU, Discovery US, Canada, UK & Germany WarnerMedia Europe SVOD US SVOD & VMVPD SVOD Britbox Epix Now Zee5 BBC & ITV MGM Zee Ent. Enterprises US with UK coming US Global SVOD SVOD SVOD & linear channels 4 CTAM Europe OTT Symposium 2019 SVOD Global Growth Global SVOD Growth 600 50 546 520 490 451 450 38 405 Subscribers (Millions) Subscribers 344 (US$ Billions) Revenues 300 262 25 Revenues (US$B) 179 Subscribers (M) 150 121 13 82 54 27 35 '- 0 0 2010 2011 2012 2013 2014 -
Television Across Europe
media-incovers-0902.qxp 9/3/2005 12:44 PM Page 4 OPEN SOCIETY INSTITUTE EU MONITORING AND ADVOCACY PROGRAM NETWORK MEDIA PROGRAM ALBANIA BOSNIA AND HERZEGOVINA BULGARIA Television CROATIA across Europe: CZECH REPUBLIC ESTONIA FRANCE regulation, policy GERMANY HUNGARY and independence ITALY LATVIA LITHUANIA Summary POLAND REPUBLIC OF MACEDONIA ROMANIA SERBIA SLOVAKIA SLOVENIA TURKEY UNITED KINGDOM Monitoring Reports 2005 Published by OPEN SOCIETY INSTITUTE Október 6. u. 12. H-1051 Budapest Hungary 400 West 59th Street New York, NY 10019 USA © OSI/EU Monitoring and Advocacy Program, 2005 All rights reserved. TM and Copyright © 2005 Open Society Institute EU MONITORING AND ADVOCACY PROGRAM Október 6. u. 12. H-1051 Budapest Hungary Website <www.eumap.org> ISBN: 1-891385-35-6 Library of Congress Cataloging-in-Publication Data. A CIP catalog record for this book is available upon request. Copies of the book can be ordered from the EU Monitoring and Advocacy Program <[email protected]> Printed in Gyoma, Hungary, 2005 Design & Layout by Q.E.D. Publishing TABLE OF CONTENTS Table of Contents Acknowledgements ........................................................ 5 Preface ........................................................................... 9 Foreword ..................................................................... 11 Overview ..................................................................... 13 Albania ............................................................... 185 Bosnia and Herzegovina ...................................... 193 -
Xfinity Tv11
Services & Pricing Effective July 1, 2020 1-800-xfinity | xfinity.com Danville & Springfield Areas: BALL TWP, CAYUGA IN, CHAMPAIGN COUNTY, CHRISMAN, CURRAN TWP, DANVILLE, EUGENE IN, FAIRMOUNT, FITHIAN, GARDNER TWP, GRANDVIEW, HOMER, INDIANOLA, JEROME, LELAND GROVE, MUNCIE, OAKWOOD, OGDEN, OLIVET, PHILO, RIDGE FARM, ROCHESTER, Portions of SANGAMON COUNTY (ROCHESTER TWP), SIDNEY, SOUTHERN VIEW, SPRINGFIELD, ST JOSEPH TWP, Portions of VERMILLION COUNTY, WOODSIDE TWP 11 Brazilian 4 Pack Includes TV Globo, PFC, Band Internacional and Record TV $34.99 XFINITY TV Mandarin 2 Pack Includes Phoenix Info News and Phoenix North America $6.99 Mandarin 4 Pack Includes CTI Zhong Tian, CCTV4, Phoenix Info News and 16 Limited Basic $23.95 Phoenix North America $19.99 Basic Includes Limited Basic, Streampix, HD Programming and 20 hours Filipino 2 Pack Includes GMA Pinoy w/ GMA Video On Demand and GMA DVR Service $30.00 Life $14.99 Extra17 Includes Limited Basic, Sports & News, Kids & Family, Filipino 3 Pack Includes GMA Pinoy w/ GMA Video On Demand, GMA Life Entertainment, Streampix, HD Programming and 20 hours DVR Service. $70.00 and TFC $22.99 Preferred Includes Extra plus additional digital channels $90.00 TV5MONDE: French With Cinema On Demand $9.99 Digital Starter18 Includes Limited Basic, additional digital channels, TV DW Deutsche +: German $9.99 Box and remote for primary outlet, access to Pay-Per-View and On Demand Antenna: Greek $14.99 programming and Music Choice $69.95 The Israeli Network $19.99 19 Sports & News Includes 18 sports and news channels -
Russian Pay TV and SVOD Is Cord-Cutting
Russian Pay TV and SVOD Is Cord-cutting Really Happening? Russian Pay TV and SVOD: Is Cord-cutting Really Happening? European Audiovisual Observatory (Council of Europe), Strasbourg, 2019 Director of Publication Susanne Nikoltchev, Executive Director Editorial Supervision Gilles Fontaine, Head of Market Information European Audiovisual Observatory Chief Editor Dmitry Kolesov, Head of TV and Content Department, J`son & Partners Consulting Authors Dmitry Kolesov, Head of TV and Content Department Anna Kuz, Consultant of TV and Content Department J`son & Partners Consulting Press and Public Relations Alison Hindhaugh, [email protected] Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France Tel.: +33 (0)3 90 21 60 00 Fax. : +33 (0)3 90 21 60 19 [email protected] http://www.obs.coe.int Please quote this publication as D. Kolesov, A. Kuz, Russian Pay TV and SVOD: Is Cord-cutting Really Happening?, European Audiovisual Observatory, 2019 © European Audiovisual Observatory (Council of Europe), Strasbourg, September 2019 Opinions expressed in this publication are personal and do not necessarily represent the view of the European Audiovisual Observatory, its members or the Council of Europe. Russian Pay TV and SVOD Is Cord-cutting Really Happening? Dmitry Kolesov Anna Kuz Table of contents 1. Executive summary 1 2. Methodology 3 3. Russian pay TV market 2017-2023 5 3.1. Subscriber base, ARPU, revenue 5 3.1.1. Basic pay TV service 5 3.1.2. Additional pay TV services 9 3.1.3. HD and 4К subscriber base 10 3.2. Pay TV market segmentation by technology 14 3.2.1. -
The Film Industry in the Russian Federation
THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research).