JCS2017 Features-①
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Tiffcom2o2o Market Report Topics トピックス
TIFFCOM2O2O MARKET REPORT TOPICS トピックス TIFFCOM2020 was held in an all-online format to accommodate the "New Normal". TIFFCOM2020 explored the possibility of a new content market in an on-demand environment that is not restricted by time and space. TIFFCOM2020は、新しい生活様式に合わせたオール・オンラインでの開催を実施。時間と空間に囚われないオンデマンドな環境下で新たなコンテンツマーケットの可能性を探りました。 ONLINE BUSINESS ONLINE BOOTH MATCHING By adopting a virtual booth(VR), we provided a one- In order to provide benefi cial business opportunities for stop environment for buyers to obtain various content exhibitors and buyers, we provided search functions information and exhibitor information stress-free. such as detailed searches by industry and category, and recommendations based on registered information. バ ーチャルブ ース(VR)を採用し、ストレスフリーでの各種コンテンツ情 報や出展者情報が、ワンストップで入手できる環境を提供。 業種やカテゴリーによる詳細検索、登録情報に基づいたレコメンド検索 機能といった、出展者とバイヤーとの有益な商談機会に繋がる環境を提 供。 Search Participants Exhibitor Details 2 16 ONLINE SCREENING ONLINE SEMINAR Provided an online screening service that connected Featured 18 seminars highlighting the latest trends and exhibitors and buyers in a secure environment(DRM). personalities in film, TV, and streaming platforms.The Equipped with a search function with detailed keynote speaker was Jim Gianopulos, Chairman and categorization and convenient functions for content CEO of Paramount Pictures. matching. 映画、TV、配信といった各ジャンルの最新テーマや人物にスポットを当 セキュアな環境下(DRM)での出展者とバイヤーを繋ぐオンラインスクリ てた18プログラムを実施。キーノートには、ジム・ジアノプロス氏(パラ ーニングサービスを提供。細かくカテゴリ分けされた検索機能やコンテ マウント・ピクチャーズ会長兼CEO)が登壇。 ンツマッチングに便利な機能を採用。 SUMMARY 総括 TIFFCOM2020 was -
World in Review 2013-2014
Brand USA USA Brand Brand USA 1725 I Street NW, Suite 800 Brand USA Washington, DC 20006 USA 2013-14 in Review World TheBrandUSA.com World in Review 2013-14 ©2012 Brand USA. All Rights Reserved. ©2012 Brand Expand your horizons on the plains of North Dakota. Discover this land, like never before. CONTENTS 5 Introduction 46 Japan 6 Brand USA Overview 52 Mexico & Central America 8 Global Timeline 60 South Korea 10 Executive Leadership & Staff 66 Taiwan & Hong Kong 12 Australia & New Zealand 74 UK & Ireland 20 Brazil 82 Global Representatives 26 China 84 Technology Developments 32 Germany, Austria & Switzerland 85 USA Discovery Program 39 India 86 Looking to the Future WORLD IN REVIEW 2013/14 3 4 WORLD IN REVIEW 2013/14 WELCOME We are pleased to present the Brand USA Global Year-In- Review. Within these pages you will find updates on Brand USA’s accomplishments around the world as we embark on our third year of operation. In 2012, Brand USA launched a successful, first-ever, direct-to-consumer marketing campaign for the United States, greatly increasing intent to visit in our inaugural launch markets of Canada, Japan, and the United Kingdom. The following year, we redeployed this highly effective campaign in those same three markets and are expanding into Australia, Brazil, China, Hong Kong, Germany, Mexico and South Korea. These 10 markets represent 75% of inbound travel to the United States. In addition, we are broadening our footprint around the globe with in-market representation and trade show participation in a total of 26 markets. -
Supplemental Information
Supplemental Information for the Consolidated Financial Results for the Third Quarter Ended December 31, 2017 2017 年度第 3 四半期連結業績補足資料 February 2, 2018 Sony Corporation ソニー株式会社 Supplemental Financial Data 補足財務データ 2 ■ Average foreign exchange rates 期中平均為替レート 2 ■ Results by segment セグメント別業績 2 ■ Sales to customers by product category (to external customers) 製品カテゴリー別売上高(外部顧客に対するもの) 3 ■ Unit sales of key products 主要製品販売台数 3 ■ Sales to customers by geographic region (to external customers) 地域別売上高(外部顧客に対するもの) 3 ■ Depreciation and amortization (D&A) by segment セグメント別減価償却費及び償却費 4 ■ Amortization of film costs 繰延映画製作費の償却費 4 ■ Additions to long-lived assets and D&A 固定資産の増加額、減価償却費 4 ■ Additions to long-lived assets and D&A excluding Financial Services 金融分野を除くソニー連結の固定資産の増加額、減価償却費及び償却費 4 ■ Research and development (R&D) expenses 研究開発費 5 ■ R&D expenses by segment セグメント別研究開発費 5 ■ Restructuring charges by segment (includes accelerated depreciation expense) セグメント別構造改革費用 5 ■ Period-end foreign exchange rates 期末為替レート 5 ■ Inventory by segment セグメント別棚卸資産 5 ■ Film costs (balance) 繰延映画製作費(残高) 6 ■ Long-lived assets by segment セグメント別固定資産 6 ■ Goodwill by segment セグメント別営業権 6 ■ Return on Invested Capital (ROIC) セグメント別 ROIC 6 Music Segment Supplemental Information (English only) 7 ■ Recorded Music 7 - Recorded Music Revenue breakdown of physical, digital and other revenues - Top 10 best-selling recorded music projects - Noteworthly projects ■ Music Publishing 7 - Number of songs in the music publishing catalog owned and administered Pictures Segment Supplemental Information (English only) 8 ■ Pictures Segment Aggregated U.S. Dollar Information 8 - Pictures segment sales and operating revenue and operating income (loss) - Sales by category and Motion Picture Revenue breakdown - Film costs breakdown ■ Motion Pictures 9 - Motion Pictures Box Office for films released in North America - Select films to be released in the U.S. -
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. -
Supplemental Information for the Consolidated Financial
Supplemental Information for the Consolidated Financial Results for the Second Quarter Ended September 30, 2019 2019 年度第 2 四半期連結業績補足資料 October 30, 2019 Sony Corporation ソニー株式会社 Supplemental Financial Data 補足財務データ 2 ■ Average / assumed foreign exchange rates 期中平均/前提為替レート 2 ■ FY19 Estimated Foreign Exchange Impact on Annual Operating Income 2019 年度 為替感応度(年間営業利益に対する影響額の試算) 2 ■ Results by segment セグメント別業績 3 ■ Sales to customers by product category (to external customers) 製品カテゴリー別売上高(外部顧客に対するもの) 4 ■ Unit sales of key products 主要製品販売台数 4 ■ Sales to customers by geographic region (to external customers) 地域別売上高(外部顧客に対するもの) 4 ■ Depreciation and amortization (D&A) by segment セグメント別減価償却費及び償却費 5 ■ Amortization of film costs 繰延映画製作費の償却費 5 ■ Additions to long-lived assets and D&A 固定資産の増加額、減価償却費及び償却費 5 ■ Additions to long-lived assets and D&A excluding Financial Services 金融分野を除くソニー連結の固定資産の増加額、減価償却費及び償却費 5 ■ Research and development (R&D) expenses 研究開発費 5 ■ R&D expenses by segment セグメント別研究開発費 5 ■ Restructuring charges by segment (includes related accelerated depreciation expense) セグメント別構造改革費用(関連する加速減価償却費用を含む) 6 ■ Period-end foreign exchange rates 期末為替レート 6 ■ Inventory by segment セグメント別棚卸資産 6 ■ Film costs (balance) 繰延映画製作費(残高) 6 ■ Long-lived assets by segment セグメント別固定資産 6 ■ Long lived assets and right-of-use assets by segment セグメント別固定資産・使用権資産 7 ■ Goodwill by segment セグメント別営業権 7 ■ Return on Invested Capital (ROIC) by segment セグメント別ROIC 7 ■ Cash Flow (CF) by segment セグメント別キャッシュ・フロー 7 Game & Network Services Segment Supplemental Information (English only) -
A Beginners Guide to SUPER GT IT’S AWESOME! Introduction to SUPER GT
A Beginners Guide to SUPER GT IT’S AWESOME! Introduction to SUPER GT UPER GT is the Japan's ■Full of world-class star drivers and team directors in SUPER GT premier touring car series S Drivers participating in SUPER GT are well be ranked among the world top featuring heavily-modified drivers. Many of them started their career from junior karting competitions, production cars (and cars that eventually stepped up into higher racing categories. Just as with baseball and are scheduled to be commercially football, SUPER GT has many world-class talents from both home and abroad. available). GT stands for Grand Furthermore, most teams appoint former drivers to team directors who have Touring - a high-performance car that is capable of high speed and achieved successful career in the top categories including Formula One and long-distance driving. SUPER GT is the 24 Hours of Le Mans. This has made the series establish a leading position a long-distance competition driven in the Japanese motor racing, creating even more exciting and dramatic battles by a couple of drivers per team to attracts millions of fans globally. sharing driving duties. The top class GT500 has undergone a big ■You don’t want to miss intense championship battles! transformation with new cars and regulations. The year 2014 is an In SUPER GT, each car is driven by two inaugural season in which the basic drivers sharing driving duties. Driver technical regulations is unified with points are awarded to the top ten the German touring car series DTM finishers in each race, and the driver duo (Deutsche Tourenwagen Masters). -
Last Update January 1St, 2018 Saki CHIKARAISHI Born in 1982
Last update January 1st, 2018 Saki CHIKARAISHI Born in 1982, Saitama, Japan/ Live in Tokyo, Japan website www.muknit.com mail [email protected] ●Education Apr.2000-Mar.2004 Department of Information Design, Tama Art University 2004 Acquisition of BFA ●Solo Exhibitions 2017 Nov. “Knit Illumination in Shintora Avenue” Shintora Avenue, Tokyo, Japan Sep. Nagasaki Art Project ”Knit Invaders in Nagasaki” Nagasaki Museum of History and Culture/Teramachi, Nagasaki, Japan 2016 Dec. Tsukure! Musako vol.4 “Saki Chikaraishi Hyper Knit Christmas” TASKO Inc. Musashi-Koyama Factory, Tokyo, Japan May “Knit Invasions in YKK” YKK Head Office, Tokyo, Japan Jan. “Back To The Fiber : KAMISANSUI” Sibuya Hikarie aiiima3, Tokyo, Japan 2013 Aug. "Haunted House" Ikejiri Institute of Design, Tokyo, Japan 2012 Sep. "UNIVERSE ⇄ UNIVERSE" Elttob Tep Issey Miyake Ginza, Tokyo, Japan 2011 Oct. ISETAN DESIGN WEEK "Re-Style Knit Jack" Isetan Department Shinjuku Main Store, Tokyo, Japan Oct. "Welcome! The Mansion of Strange Knitting" Seibu Art Gallery, Seibu Department Ikebukuro Main Store, Tokyo, Japan Feb. "Knitting Grand Strategy" Alternative Space, Seibu Department Store, Shibuya, Tokyo, Japan 2009 Nov. "Welcome! Knitting X'mas Party" Roppongi Hills Umu, Tokyo, Japan Feb. "Globe Groove" The Artcomplex Center of Tokyo, Tokyo, Japan 2008 Feb. "My Dream Trip" The Artcomplex Center of Tokyo, Tokyo, Japan 2005 Apr. "Sakippo" Wada Gallery, Tokyo, Japan ●Group Exhibitions 2017 Nov. “GOTENYAMA ART & TECHNOLOGY WEEK 2017” Gotenyama, Tokyo, Japan Oct. “ART PROJECT TAKASAKI 2017” Around Takasaki Station West Exit, Gunma, Japan Sep. “The 7th New Artists Exhibition” Kawaguchi Art Gallery ATLIA, Saitama, Japan Aug. “Hotel Art Fes” Park Hotel Tokyo, Tokyo, Japan Apr. -
Broadcast Technology
Trends in Digital Terrestrial Broadcasting Countermeasures for analog channel adjustments that will be necessary to accommodate the upcoming launch of digital terrestrial television broadcasting began in the three largest metropolitan areas on February 9 of this year. The basic policy of the National Promotion Committee for Digital Terrestrial Broadcasting was determined in July for the other areas of the country, where work will advance on establishing a nationwide system. This article provides an overview of the schedule for analog channel adjustment countermeasures, broadcasts in Tokyo/Nagoya/Osaka, digital broadcasting standardization, and work being conducted by related organizations toward digitalization of terrestrial broadcasts. It also explains broadcast-wave relay technology, which will play an important role in the future nationwide service. 1. Digital Terrestrial Television Broadcasting been covered in the initial plan, such as subscribers who Analog channel adjustment countermeasures receive broadcasts from transmitters other than the nearest The Joint Committee Concerning Digital Terrestrial ones (Table 1). Broadcasting, established in September 1999 by the The document detailing amendments to the basic plan Ministry of Public Management, Home Affairs, Posts and for promoting broadcasting and the frequency use plan Telecommunications (MPHPT), prepared the initial plan was released on September 27, 2002. It describes how the regarding the number of broadcasting stations and digitalization of terrestrial services would advance in households to be affected by the analog adjustment phases: first, the Tokyo / Osaka / Nagoya areas would be countermeasures and an estimate of the cost for the digitalized; then, other regions would be digitalized. It took changeover. Its report was released in April 2000. -
Division of Forest and Biomaterials Science
2.2 DIVISION OF FOREST AND BIOMATERIALS SCIENCE 1. Outline of the Division Forests play a very important role in the environment of the earth and provide wood resources that are continuously renewable in contrast with fossil resources such as petroleum and coal. Research and educational activities of this division cover not only preservation, cultivation, and continuous production of forest resources, but also utilization of forest products for our life and culture with the aim of coexistence of forest and human beings. This division consists of 20 laboratories, including 2 laboratories of Field Science Education and Research Center and 5 laboratories of Research Institute for Sustainable Humanosphere (renamed Wood Research Institute reconstructed in April, 2005), and their activities are international and interdisciplinary. 2. Number of students There are 91 students (42 freshmen and 49 2nd year students) in the Master’s program and 67 students in the doctor’s program of this division. 3. Divisions and laboratories offering lectures Division of Forest and Biomaterials Science: Laboratories of Forest Resources and Society, Forest Environment Planning, Tropical Forest Resources and Environments, Forest Utilization, Forest Biology, Landscape Architecture, Erosion Control, Biomaterials Design, Wood Processing, Biofibrous Materials, Tree Cell Biology, Composite Materials Chemistry, and Chemistry of Biomaterials. Field Science Education and Research Center: Laboratories of Forest Information, and Silviculture. Research Institute for Sustainable Humanosphere: Laboratories of Active Bio-based Materials, Sustainable Materials, Structural Function, Innovative Humano-habitability, Biomass Morphologenesis and Information 4. Event in 2005 The orientation course for freshmen on April, 16 at Kamigamo Experimental Station offered a curriculum-guidance. After the orientation, a short Station-tour and subsequent welcome party were carried out. -
2004 Suzuki Environmental & Social Report
SUZUKI ENVIRONMENTAL & SOCIAL REPORT 2004 Introduction Since our founding, we have constantly pursued business activities in response to our customer’s needs while contributing to social advancement and benefits. And this ideal will never change. In order to maintain our business activities, continue to hold the trust and respect of our customers, clients, stockholders, and the local community, while broadening our contributions to the global society, it is important that each and ev- ery one of our executives and employees deeply appreciates that corporations not only exist for the purpose of financial profit, but exist to carry out social responsibilities as corporate citizens. One of the most important roles in being a corporate citizen is holding a deep commitment to environ- mental activities. The Japanese government’s new “Law Concerning the Promotion of Measures to Cope with Global Warming” requires that drastic improvements be made in automobile fuel efficiency, and ener- gy consumption be further reduced in manufacturing plants using the Top Runner System*. In order to meet these requirements, we at Suzuki are fully committed to achieving these government standards, and will work with utmost effort to expand the use of vehicles that achieve top runner standards at as early a date as possible, develop and promote fuel cell electric vehicles, reduce energy in our manufacturing plants, utilize wind generated power systems, etc. Under the motto “Small Cars — For A Big Future” Suzuki will push forward with manufacturing small cars and environmentally friendly products that meet the needs of our cus- tomers, and make aggressive efforts in a broad range of issues concerning environmental conservation. -
Supplemental Information for the Consolidated Financial Results for the Third Quarter Ended December 31,2019
Supplemental Information for the Consolidated Financial Results for the Third Quarter Ended December 31, 2019 2019 年度第 3 四半期連結業績補足資料 February 4, 2020 Sony Corporation ソニー株式会社 Supplemental Financial Data 補足財務データ 2 ■ Average / assumed foreign exchange rates 期中平均/前提為替レート 2 ■ FY19 Estimated Foreign Exchange Impact on Annual Operating Income 2019 年度 為替感応度(年間営業利益に対する影響額の試算) 2 ■ Results by segment セグメント別業績 3 ■ Sales to customers by product category (to external customers) 製品カテゴリー別売上高(外部顧客に対するもの) 4 ■ Unit sales of key products 主要製品販売台数 4 ■ Sales to customers by geographic region (to external customers) 地域別売上高(外部顧客に対するもの) 4 ■ Depreciation and amortization (D&A) by segment セグメント別減価償却費及び償却費 5 ■ Amortization of film costs 繰延映画製作費の償却費 5 ■ Additions to long-lived assets and D&A 固定資産の増加額、減価償却費及び償却費 5 ■ Additions to long-lived assets and D&A excluding Financial Services 金融分野を除くソニー連結の固定資産の増加額、減価償却費及び償却費 5 ■ Research and development (R&D) expenses 研究開発費 5 ■ R&D expenses by segment セグメント別研究開発費 5 ■ Restructuring charges by segment (includes related accelerated depreciation expense) セグメント別構造改革費用(関連する加速減価償却費用を含む) 6 ■ Period-end foreign exchange rates 期末為替レート 6 ■ Inventory by segment セグメント別棚卸資産 6 ■ Film costs (balance) 繰延映画製作費(残高) 6 ■ Long-lived assets by segment セグメント別固定資産 6 ■ Long lived assets and right-of-use assets by segment セグメント別固定資産・使用権資産 7 ■ Goodwill by segment セグメント別営業権 7 ■ Return on Invested Capital (ROIC) by segment セグメント別ROIC 7 ■ Cash Flow (CF) by segment セグメント別キャッシュ・フロー 7 Game & Network Services Segment Supplemental Information (English only) -
Changement Identitaire Et Revendications Régionalistes Du Kansaï Au Japon
Université de Montréal Changement identitaire et revendications régionalistes du Kansaï au Japon par Sachiyo Kanzaki Département d’anthropologie Faculté des arts et des sciences Thèse présentée à la Faculté des études supérieures et postdoctorales en vue de l’obtention du grade de Philosophiae Doctor (Ph.D.) en anthropologie Octobre, 2013 © Kanzaki, 2013 Université de Montréal Faculté des études supérieures et postdoctorales Cette thèse intitulée : Changement identitaire et revendications régionalistes au Kansaï, Japon Présentée par : Sachiyo Kanzaki a été évaluée par un jury composé des personnes suivantes : Gilles Bibeau, président-rapporteur Bernard Bernier, directeur de recherche Thomas Lamarre, membre du jury John Price, examinateur externe Dominique Caouette, représentant du doyen de la FES Résumé Depuis quelque temps, au Japon, on utilise de plus en plus le terme « Kansaï » pour désigner la région du Kinki (littéralement « le voisinage de la capitale »). Cette thèse propose d’analyser l’émergence de cette entité régionale et de son discours culturel dans le but de pallier le manque de recherches antérieures sur la diversité socioculturelle et le régionalisme au Japon. Il y existe, d’une part, une volonté de considérer le Japon comme une entité homogène, et d’autre part, un contexte dans lequel le Japon lui-même prône l’homogénéité de son peuple. Historiquement, ces énoncés ont été réfutés à plusieurs reprises par différents chercheurs et organismes. Entre-temps, sur le plan régional, la diversité devient de moins en moins clairement observable dû à l’urbanisation, aux moyens de transport, à la migration interne et au développement des médias de masse. Cette situation à l'époque post-industrielle a engendré aujourd’hui le discours régionaliste du Kansaï.