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Joint Action Against Online Video Piracy in China
November 13, 2013 Joint Action Against Online Video Piracy in China Lawsuits Seeking RMB300 Million in Damages Filed Against Baidu and QVOD on Claims of Spreading Pirated Videos and Engaging in Hotlinking BEIJING, Nov. 13, 2013 /PRNewswire/ -- Youku Tudou, Sohu Video, Tencent Video, LeTV, MPA, the Motion Picture Association of America (MPAA), CODA, Wanda Films, Enlight Media, Letv Films announce a joint declaration today in Beijing to fight online video infringement and piracy both on PC and mobile Internet in China. Meanwhile, the joint action announces legal action has been taken against Baidu and QVOD for compensation as high as RMB300 million. Representatives from more than a dozen Chinese and international film and television production companies attended the joint action announcement in Beijing. International attendees included the Motion Picture Association of America, Sony Pictures Entertainment, Warner Brothers, Disney and Paramount. Chinese attendees included the Capital Copyright Industry Alliance Capital Protection Division, the China Radio and Television Association of the Television Production Committee, and many Chinese production companies. "Since 2009, the video industry is facing a more severe anti-piracy situation," Sohu Group Chairman and CEO Charles Zhang said. "Especially when those big Internet companies with resource advantages participate in large-scale piracy. We cannot keep competing because where thieves and robbers are having their way, law-abiding companies cannot survive. We may even have to exit online video industry if such practices continue. Nobody will invest in content, and China's online video industry will face the sad situation as the music industry, which has already been destroyed by piracy, had faced before. -
Internet Economy 25 Years After .Com
THE INTERNET ECONOMY 25 YEARS AFTER .COM TRANSFORMING COMMERCE & LIFE March 2010 25Robert D. Atkinson, Stephen J. Ezell, Scott M. Andes, Daniel D. Castro, and Richard Bennett THE INTERNET ECONOMY 25 YEARS AFTER .COM TRANSFORMING COMMERCE & LIFE March 2010 Robert D. Atkinson, Stephen J. Ezell, Scott M. Andes, Daniel D. Castro, and Richard Bennett The Information Technology & Innovation Foundation I Ac KNOW L EDGEMEN T S The authors would like to thank the following individuals for providing input to the report: Monique Martineau, Lisa Mendelow, and Stephen Norton. Any errors or omissions are the authors’ alone. ABOUT THE AUTHORS Dr. Robert D. Atkinson is President of the Information Technology and Innovation Foundation. Stephen J. Ezell is a Senior Analyst at the Information Technology and Innovation Foundation. Scott M. Andes is a Research Analyst at the Information Technology and Innovation Foundation. Daniel D. Castro is a Senior Analyst at the Information Technology and Innovation Foundation. Richard Bennett is a Research Fellow at the Information Technology and Innovation Foundation. ABOUT THE INFORMATION TECHNOLOGY AND INNOVATION FOUNDATION The Information Technology and Innovation Foundation (ITIF) is a Washington, DC-based think tank at the cutting edge of designing innovation policies and exploring how advances in technology will create new economic opportunities to improve the quality of life. Non-profit, and non-partisan, we offer pragmatic ideas that break free of economic philosophies born in eras long before the first punch card computer and well before the rise of modern China and pervasive globalization. ITIF, founded in 2006, is dedicated to conceiving and promoting the new ways of thinking about technology-driven productivity, competitiveness, and globalization that the 21st century demands. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
Eone Annual Report 2019
2019 Annual Report and Accounts Unlocking the power & value of creativity We are focused on building the leading talent-driven, platform- agnostic entertainment company in the world. Through our deep creative relationships we are able to produce the highest quality content for the world’s markets. We are powered by global reach, scale and local market knowledge to generate maximum value for this content. Strategic Report SR Governance G Financial Statements FS Unlocking the Unlocking the value of originality power & value p.10 of creativity Unlocking the power of creativity p.12 Strategic report Governance 02 At a glance 66 Corporate governance 04 Chairman’s statement 68 Board of Directors 06 Chief Executive Officer’s review 70 Corporate governance report 10 Unlocking the power 78 Audit Committee report & value of creativity Unlocking the 86 Nomination Committee report value of direction 20 Market Review 90 Directors’ Remuneration report p.14 22 Business Model 118 Directors’ report: 24 Strategy additional information 26 Key performance indicators Financial statements Business review 122 Independent auditor’s report 28 Family & Brands 127 Consolidated financial statements 36 Film, Television & Music 131 Notes to the consolidated financial statements Unlocking the 46 Finance review power of storytelling 51 Principal risks and uncertainties Visit our website: entertainmentone.com p.16 58 Corporate responsibility Unlocking the value of talent p.18 entertainmentone.com 1 AT A GLANCE Performance highlights Strong growth in underlying EBITDA -
Analysis and Discussion on the Network Self Made Drama Under the Network Platform
Analysis and Discussion on the Network Self Made Drama under the Network Platform Xiaoxia LI Zibo Vocational Institute Abstract: In recent years, with the continuous deepening of the integration of Internet and film and television creation, China has entered the online drama world spawned by the “Internet”. In the development trend of online drama, self-made content has become the foundation of every major platform. In 2020, the network self-made drama will be stable and new. Under the benign situation of stable development, it will move towards higher quality and broader stage. Keywords: Network; Platform; Homemade drama; Film and television DOI: 10.47297/wspciWSP2516-252708.20200409 1. The Rise of Self-made Drama in the Network Video Platform (1) The characteristics of network communication and the platform advantage of mastering the front market data, the network self-made drama has high interaction and market sensitivity. (2) Behind the rise of the network self-made drama is the network video platform that is eager for more control. n the increasingly fierce and cruel competition of “film and television winter”, Ithe network self-made drama makes these online video platforms escape the copyright purchase cost of the sky price, and change from passive content competition to active participation in content production, and become the core of platform differentiation competition. At the same time, this benign change also contains the vision of the film and television industry to reshape the content ecology. About the author: Xiaoxia LI (1978-02), female, from Zibo City, Shandong Province, master, lecturer, engaged in computer applications, network big data and artificial intelli- gence. -
From Western TV Sets to Chinese Online Streaming Services: English-Language TV Series in Mainland China
. Volume 16, Issue 2 November 2019 From Western TV sets to Chinese online streaming services: English-language TV series in mainland China Xiaoran Zhang, University of Nottingham, UK Abstract: In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on licensed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English-language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of audience consumption in China have informed the localization of this specific transnational TV content. Keywords: Online streaming, streaming consumption, television distribution, transnational TV, Tencent Video, HBO, Game of Thrones Introduction As one of HBO’s most successful high-end shows, Game of Thrones (2011-) has earned a worldwide reputation that includes the fandom of Chinese viewers. -
Critical Masses, Commerce, and Shifting State-Society Relations in China" (2010)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The hinC a Beat Blog Archive 2008-2012 China Beat Archive 2010 Critical Masses, Commerce, and Shifting State- Society Relations in China Ying Zhu University of New York, College of Staten Island Follow this and additional works at: https://digitalcommons.unl.edu/chinabeatarchive Part of the Asian History Commons, Asian Studies Commons, Chinese Studies Commons, and the International Relations Commons Zhu, Ying, "Critical Masses, Commerce, and Shifting State-Society Relations in China" (2010). The China Beat Blog Archive 2008-2012. 710. https://digitalcommons.unl.edu/chinabeatarchive/710 This Article is brought to you for free and open access by the China Beat Archive at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The hinC a Beat Blog Archive 2008-2012 by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Critical Masses, Commerce, and Shifting State-Society Relations in China February 17, 2010 in Media, movies by The China Beat | 4 comments This essay is based on the script of a talk Ying Zhu gave at Google’s New York offices on February 12, 2010. Sections in bold were not part of the original talk, but have been added by the authors to tease out some of the issues that were left without further elaboration due to time constraints. By Ying Zhu and Bruce Robinson Editor’s note: This piece originally ran with Ying Zhu listed as its sole author. After it appeared, Ying Zhu informed us that it should be described as a co-authored commentary, in recognition of the extraordinary contribution to it by Bruce Robinson, with whom she had collaborated closely on a related project; we have followed her wishes; and both Ying Zhu and China Beat ask that in further attributions or discussion both authors be equally credited for this work. -
China Consumer Close-Up
January 13, 2015 The Asian Consumer: A new series Equity Research China Consumer Close-up The who, what and why of China’s true consumer class Few investing challenges have proven more elusive than understanding the Chinese consumer. Efforts to translate the promise of an emerging middle class into steady corporate earnings have been uneven. In the first of a new series on the Asian consumer, we seek to strip the problem back to the basics: Who are the consumers with spending power, what drives their consumption and how will that shift over time? The result is a new approach that yields surprising results. Joshua Lu Goldman Sachs does and seeks to do business with +852-2978-1024 [email protected] companies covered in its research reports. As a result, Goldman Sachs (Asia) L.L.C. investors should be aware that the firm may have a conflict of interest that could affect the objectivity of this report. Sho Kawano Investors should consider this report as only a single factor +81(3)6437-9905 [email protected] Goldman Sachs Japan Co., Ltd. in making their investment decision. For Reg AC certification and other important disclosures, see the Disclosure Becky Lu Appendix, or go to www.gs.com/research/hedge.html. +852-2978-0953 [email protected] Analysts employed by non- US affiliates are not registered/ Goldman Sachs (Asia) L.L.C. qualified as research analysts with FINRA in the U.S. January 13, 2015 Asia Pacific: Retail Table of contents PM Summary: A holistic view of the Asian consumer 3 China’s cohort in a regional context (a preview of India and Indonesia) 8 What they are buying and what they will buy next: Tracking 7 consumption desires 11 Seven consumption desires in focus 14 1. -
Social Media Contracts in the US and China
DESTINED TO COLLIDE? SOCIAL MEDIA CONTRACTS IN THE U.S. AND CHINA* MICHAEL L. RUSTAD** WENZHUO LIU*** THOMAS H. KOENIG**** * We greatly appreciate the editorial and research aid of Suffolk University Law School research assistants: Melissa Y. Chen, Jeremy Kennelly, Christina Kim, Nicole A. Maruzzi, and Elmira Cancan Zenger. We would also like to thank the editors at the University of Pennsylvania Journal of International Law. ** Michael Rustad is the Thomas F. Lambert Jr. Professor of Law, which was the first endowed chair at Suffolk University Law School. He is the Co-Director of Suffolk’s Intellectual Property Law Concentration and was the 2011 chair of the American Association of Law Schools Torts & Compensation Systems Section. Pro- fessor Rustad has more than 1100 citations on Westlaw. His most recent books are SOFTWARE LICENSING: PRINCIPLES AND PRACTICAL STRATEGIES (Lexis/Nexis, 3rd ed. forthcoming 2016), GLOBAL INTERNET LAW IN A NUTSHELL (3rd ed., West Academic Publishers, 2015), and GLOBAL INTERNET LAW (HORNBOOK SERIES) (West Academic Publishers, 2d ed. 2015). Professor Rustad is editor of COMPUTER CONTRACTS (2015 release), a five volume treatise published by Matthew Bender. *** Wenzhuo Liu, LL.B., LL.M, J.D., obtained China’s Legal Professional Qual- ification Certificate in 2011. In 2014, she became a member of the New York state bar. She earned an LL.M degree from the University of Wisconsin Law School in Madison, Wisconsin in 2012 and a J.D. degree from Suffolk University Law School in Boston. She was associated with Hunan Haichuan Law Firm in Changsha, China. Ms. Liu wrote a practice pointer on Software Licensing and Doing Business in China in the second and third editions of MICHAEL L. -
How to Boost the Impact of Scientific Conferences
ABSTRACT We can maximize the impact of scientific conferences by uploading all conference presentations, posters, and abstracts to highly-trafficked public repositories for each content type. Talks can be hosted on sites like YouTube and Youku, posters can be published on Figshare, and papers/abstracts can become Open Access PrePrints. How to boost the impact of scientific conferences. Mike Morrison Kelsey Merlo Zach Woessner Michigan State University University of South Florida Michigan State University [email protected] [email protected] [email protected] (corresponding author) Thanks to the heroic efforts of conference administrators across science, most academic conferences scheduled for 2020 have been at least partially translated into a virtual format. Now, it is time to figure out what role online content should have in the future, and how to maximize its engagement and impact. First, to get in the right mindset, it will help to stop thinking of annual scientific conferences as only updating a subset of attending scientists on what is happening in a field, and start thinking of conferences as being able to update the entire world on what is happening in a field of study — especially all relevant scientists, whether they pay dues for that conference or not. Figure 1 places the “classic 3” scientific conference content types — Presentations, Posters, and Conference abstracts — on a continuum ranging from ‘easy to produce’ to ‘hard to produce’, and from ‘small impact’ (on just a few people) to ‘big impact’ (reaching tens or hundreds of thousands of people). Figure 1. The effort-impact continuum. Most traditional scientific conference content takes a lot of effort to create, and has a relatively small reach and impact (relative to the total population of people potentially interested in it). -
“Pitch David Ogilvy” Iphone App Named FWA “Mobile of the Day” Free Iphone App Available Now on the App Store
PRESS RELEASE FOR IMMEDIATE RELEASE Ogilvy & Mather’s “Pitch David Ogilvy” iPhone App Named FWA “Mobile of the Day” Free iPhone app available now on the App Store [BEIJING: 22 JULY 2011] Today Ogilvy & Mather’s “Pitch David Ogilvy” iPhone app was named “Mobile of the Day” by the industry recognized internet award program FWA (Favourite Website Awards). The app was created to continue the centennial celebration of Ogilvy & Mather founder David Ogilvy who was born 100 years ago on June 23. The new iPhone app invites the public to pitch their “big ideas” to the iconic ad man himself. Using the iPhone’s videoconference function, the free app allows users to have a direct Facetime conversation with a 3D David Ogilvy about their ideas. Through speech recognition technology, David Ogilvy, one of the advertising industry’s most famous and lauded figures, will respond accordingly to the pitched idea with an encouragement or an honest and straightforward critique in his signature style. The interactive “Pitch David Ogilvy” app commemorates the advertising legend’s commitment to knowledge, imagination and innovation that continues to inspire today’s generation of pioneers across all industries. For advertising enthusiasts and creatives who have been influenced by famous Ogilvyisms such as “Never write an advertisement that you wouldn’t want your own family to read,” “Tolerate genius,” and “Unless your advertising is built on a big idea, it will pass like a ship in the night,” this app gives today’s ad men a fun mobile tool to test their concepts and big ideas. Doug Schiff, ECD of OgilvyOne Bejing, who worked with Ogilvy Digital Lab, Sascha Engel, to develop the iPhone app, said, “We created this fun and engaging app because we wanted to bring David’s passion for big ideas back to contemporary life. -
Audiovisual Forms of Critique As Fair Use, 44 Colum
ALEC FISHER, UNSPOKEN CRITICISM: AUDIOVISUAL FORMS OF CRITIQUE AS FAIR USE, 44 COLUM. J.L. & ARTS 243 (2021) Unspoken Criticism: Audiovisual Forms of Critique as Fair Use Alec Fisher* INTRODUCTION Imagine a short video from a film critic highlighting the latest superhero summer blockbuster. First, we see a few seconds of the big action finale from the copyrighted film. The superhero flies through the air, zipping between skyscrapers at breakneck speed. The video cuts to a clip of the critic, in closeup, yawning for several seconds. Then, it cuts back to the film, and we see the superhero engaged in the film’s climactic battle, pummeling the villain with superhuman strength. Next, it cuts back to the critic, who is now asleep and snoring loudly. The video ends. Is the resulting video a work of criticism? It may depend on whom you ask. For a court assessing criticism for fair use purposes, the answer is currently unclear. In recent years, the rise of online social media platforms and increased access to the tools of creative expression—smartphone cameras, and photo and video editing software, to name a few—have led to the proliferation of audiovisual criticism on the internet.1 Online audiovisual criticism is now so ubiquitous that numerous YouTube channels dedicated to film and television criticism boast viewership in the hundreds of millions.2 Yet, as new technologies have lowered the barriers to entry for creators of works of criticism, these technologies have also fostered a creative evolution of criticism in ways that present novel questions for copyright law.