Rebuttal Report of Carl Shapiro
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Tv Guide Myrtle Beach Sc
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INFLUENCE Music Marketing Meets Social Influencers COVERFEATURE
06-07 Tools Kombie 08-09 Campaigns YACHT, Radiohead, James Blake 10-14 Behind The Campaign Aurora MAY 18 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 157 UNDER THE INFLUENCE music marketing meets social influencers COVERFEATURE In the old days, there were a handful of gatekeepers – press, TV and radio – and getting music in front of them was hard, UNDER THE INFLUENCE but not impossible. Today, traditional media still holds significant power, but the number of influencers out there has shot up exponentially with the explosion of social media in general and YouTube in particular. While the world’s largest video service might be under fire over its (low) royalty rates, the music industry is well aware that its biggest stars offer a direct route to the exact audiences they want their music to reach. We look at who these influencers are, how they can be worked with and the things that will make them back or blank you. etting your act heard used to be, if not exactly easy, then at least relatively Gstraightforward for the music business: you’d schmooze the radio playlist heads, take journalists out to a gig and pray for some TV coverage, all while splashing out on magazine and billboard advertising. The digital era – and especially social media – have shaken this all up. Yes, traditional media is still important; but to this you can add a sometimes bewildering list of “social influencers”, famous faces on platforms like YouTube, Snapchat and Instagram, plus vloggers, Viners and the music marketing meets rest, all of whom (for now) wield an uncanny power over youthful audiences. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
Cablefax Dailytm Cablefax Dailytm
URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 43 Pages Today CableFAX DailyTM Wednesday — February 2, 2011 What the Industry Reads First Volume 22 / No. 021 TV (Nearly)Everywhere: Not Fully Here, But No Longer Way Out There After Time Warner chmn/CEO Jeff Bewkes dismissed Netflix as a “200 pound chimp” instead of an 800-lb gorilla during a CNBC interview at CES, Netflix reported yet another monster quarter with continuing to-the-moon sub growth. The results left Bewkes’ snub smacking of overconfident hyperbole, yet Time Warner’s newTV Every- where deal with Comcast adds even more credence to his constant drum beating of Turner as a multiplatform heavyweight. Turner inked a long-term pact that will provide the MSO’s digital customers with access to hundreds of shows on myriad platforms at no additional cost and shorty after initial airing. Content from TNT, TBS, CNN, HLN, truTV, TCM, Cartoon Net and Adult Swim will be included, with availability planned through Xfintitytv.com, Comcast’s VOD service and Xfinity-branded mobile apps. Live streaming is also planned. And starting in the middle of this year, the Turner content on Xfinity platforms is expected to accrue to Nielsen C3 ratings across TV and the Internet (Cfax, 2/1), and eventually to phone and tablet devices. “This landmark agreement… really solidifies our partnership in this effort and really pushes forward the concept of giving consumers more access to quality on- demand content on any device they choose,” said Bewkes in a release. Turner Websites and branded tablet/phone apps will feature the content as well. -
Here Are So Many People, Decisions and Steps in Between That Are Rarely Discussed
** SCHEDULE OF SPECIAL EVENTS AND INDUSTRY PANELS BELOW BY DATE** (***Additions to Be Announced asap***) THURSDAY, JUNE 24 EPSTEIN’S SHADOW: GHISLAINE MAXWELL (Peacock; June 24)-OPENING NIGHT EVENT In Attendance: Barbara Shearer (Director & Executive Producer), Jennifer Harkness, Nina Burleigh and Emma Cooper (Executive Producers) The documentary series will investigate the powerful, connected, and mysterious Ghislaine Maxwell, who was once the heiress to the Maxwell fortune but whose life takes a sordid downturn when she meets Jeffrey Epstein, the serial sex offender. This investigative series will reveal a complicated story of power, sex, and money, which leads to Ghislaine Maxwell’s arrest awaiting trial in November 2021. The series, titled “Ghislaine Maxwell: Epstein’s Shadow,” will also premiere on Sky Documentaries and streaming service NOW in the UK on June 28. Deadline INSIDE LOOK: THE DAILY SHOW WITH TREVOR NOAH (Comedy Central; Weeknights)- PANEL In Attendance: Desi Lydic and Dulcé Sloan (Correspondents), Jen Flanz (Executive Producer and Showrunner), Zhubin Parang (Supervising Producer and Writer), and Dan Amira (Head Writer and Producer) Between a global pandemic and countless social justice crises this past year, The Daily Show with Trevor Noah offered both levity and crucial commentary on some of today’s most uncomfortable truths. Sit down with The Daily Show’s creative team to discuss how the show works behind the scenes to tackle tough conversations, elevate underrepresented voices and navigate the unforeseen challenges of 2020—all while making the audience laugh. Veteran creatives and correspondents share their insight on what it takes to make a successful show and keep audiences engaged 24/7 with not just the program, but also more broadly with the world around them. -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Il Mercato TV Non Ha Bisogno Di Bugie: I Canali 100 E 200 Per Ora
n.250 / 21 6 SETTEMBRE 2021 MAGAZINE C’è un nuovo Sky Q OLED top di gamma Philips Xiaomi dice Champions su Prime Ha il DVB-T2 e nasce 2 processori e funzione addio al Video: un duro test per lo streaming 03 “anti stampaggio” 06 marchio “Mi” 09 per la rete italiana 19 Il mercato TV non ha bisogno di bugie: i canali 100 e 200 per ora sono inutili Con il rinvio “sine die” dello switch-off, i canali 100 e 200 non sono più adatti ad indicare i TV obsoleti. Si rischia di mandare a rottamazione TV che hanno ancora davanti anni di funzionamento 02 Bonus TV Rottamazione, le FAQ 43 Tutto quello che c’è da sapere Ecco come funziona il Bonus TV Rottamazione fino a 100 euro: procedure, tempi, requisiti e moduli. Microscopio Celestron E perché non è facile ottenerlo per compra online. 04 Imparare divertendosi DAZN e Serie A, un inizio da incubo 47 Tutto sistemato, ma c’è da fare Partenza della Serie A in salita per DAZN, con streaming L’Ecobonus ritorna bloccato per alcuni minuti: si parla di assestamento Trasferiti i 57 milioni iniziale, ma il problema maggiore resta la qualità. dell’Extrabonus 07 Per TIM “la rete ha funzionato”, ma Agcom resta vigile nel fondo ordinario IN PROVA IN QUESTO NUMERO 24 28 35 41 Samsung Neo QLED Galaxy Watch4 Antifurto Ajax, casa TCL C825, MiniLED LCD ai massimi livelli Buono ma non perfetto sicura in poche ore sotto i 1000 euro torna al sommario 1 n.250 / 21 6 SETTEMBRE 2021 MAGAZINE TV E VIDEO Con il rinvio del passaggio al DVB-T2, gli appelli a verificare l’obsolescenza dei TV con i canali 100 e 200 sono fuorvianti I canali 100 e 200 del DTT ora non servono Molti TV non compatibili non vanno rottamati In questa fase in cui si parla insistentemente di “rottamazione TV” in forza del nuovo Bonus, bisogna essere molto chiari di Gianfranco GIARDINA uesto non è un articolo che gradiranno tutti: probabilmente qualche operatore, del retail Qo dell’industria, troverà questo intervento inopportuno. -
2012 Annual Report
2012 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA/ONSTAGE Events ................................................................................................................15 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Special Screenings .................................................................................................................................... 23 Robert M. -
Cablefax Dailytm Friday — January 13, 2012 What the Industry Reads First Volume 23 / No
URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 4 Pages Today CableFAX DailyTM Friday — January 13, 2012 What the Industry Reads First Volume 23 / No. 008 ADVERTISEMENT I N T R O D U C I N G THE NEW 24 HOUR SPORTS NETWORK NBCSports.com © Copyrighted material! It is unlawful to photocopy/resend CableFAX Daily without written permission from Access Intelligence, LLC QUESTIONS ABOUT YOUR SUBSCRIPTION? CALL: 888/707-5810 OR E-MAIL: [email protected] 4 Choke Cherry Road, 2nd Floor, Rockville, MD 20850 URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 4 Pages Today CableFAX DailyTM Friday — January 13, 2012 What the Industry Reads First Volume 23 / No. 008 Staying Live: Few Are Doing it When it Comes to TV Cue the Buffalo Springfield soundtrack. In a research note musing, “there’s something happening here,”Nomura analyst Michael Nathanson provided some color about a well known yet nettlesome industry seachange that’s highlighted each year by all the gadgets on display at CES: the rapid decline of live TV viewership. “Thanks to either the continued impact of the DVR, shifts in the Nielsen sample, the NBA strike or slight changes in consumption patterns, live primetime TV viewership declined almost -5% [in 4Q]–now 13 straight quarters of live declines,” said Nathanson. Duh, you say? Such utterers likely wouldn’t be moved by Nathanson’s claim that cable’s live ratings (-5%) fell more than broadcast’s (-3%) in the quarter either—a slew of cable originals count more than 40% time-shifted viewership—but that hasn’t happened in 5 quarters and perhaps more importantly, broadcast C3 viewing rose 0.3% while cable’s dipped 1.1%. -
Filed by AT&T Inc. Pursuant to Rule 425 Under the Securities Act Of
Filed by AT&T Inc. Pursuant to Rule 425 under the Securities Act of 1933 and deemed filed pursuant to Rule 14a–12 of the Securities Exchange Act of 1934 Subject Company: Time Warner Inc. Commission File No.: 1-15062 Final Transcript AT&T INC.: AT&T Call October 22, 2016/7:00 p.m. CDT SPEAKERS Randall Stephenson – Chairman and CEO, AT&T Jeff Bewkes – Chairman and CEO, Time Warner Larry Solomon – Senior Vice President of Corporate Communications, AT&T NEWS MEDIA Matthew Garrahan – Financial Times Roger Cheng – CNET Scott Moritz – Bloomberg Jessica Toonkel – Reuters Joe Belbruno – the Hollywood Reporter Keach Hagey – Wall Street Journal Meg James – The Los Angeles Times PRESENTATION Moderator Ladies and gentlemen, thank you for standing by and welcome to the AT&T/Time Warner acquisition. At this time, all lines are in a listen-only mode. Later, there will be an opportunity for your questions and instructions will be given at that time. I will now turn the conference over to Larry Solomon, Senior Vice President of Corporate Communications at AT&T. Please go ahead, Sir. L. Solomon Good evening. Welcome, everyone. Thanks for joining us on a late Saturday night. Joining us are AT&T Chairman and CEO Randall Stephenson, and Time Warner Chairman and CEO Jeff Bewkes. Randall. R. Stephenson Thanks, Larry. Jeff is on the phone as well. I do appreciate everybody taking time on a Saturday evening to join us. I’m going to just make a few comments, and then what I will do is turn it over to Jeff and he can do the same. -
Youtube's Recommendation System and the 2019 Canadian Federal
UP NEXT: YouTube’s Recommendation System and the 2019 Canadian Federal Election by Daniel Cockcroft A thesis submitted in partial fulfillment of the requirements for the degrees of Master of Arts and Master of Library and Information Studies Digital Humanities and School of Library and Information Studies University of Alberta © Daniel Cockcroft, 2020 ABSTRACT In the months leading up to the 2016 election in the United States, YouTube’s recommendation algorithm decidedly favored pro-Trump videos, fake news and conspiracy theories. In this thesis, I question whether such bias is present in the context of the 2019 federal election in Canada. To do so, I make use of open-source software to gather recommendation data related to three of the candidates: Conservative Party of Canada leader Andrew Scheer, New Democratic Party leader Jagmeet Singh, and Liberal Party of Canada leader Justin Trudeau. Using the same data, I will also study the media bias and factual accuracy of the sources recommended. My results show that YouTube’s recommender system is susceptible to influence by audiences and shows bias towards Andrew Scheer and against Justin Trudeau. Given my results and evidence provided by other researchers, this study stresses the need for ethical algorithm design, including proactive approaches for increased transparency, regulatory oversight, and increased public awareness. ii ACKNOWLEDGEMENTS I would like to extend a big thank you to my supervisory committee, Tami, Astrid, and Harvey for keeping me inspired and asking the right questions. Your countless hours of work have not gone unnoticed, and through your efforts you’ve made me a better researcher and writer. -
Mercado De Streaming De Video
MERCADO DE STREAMING DE VIDEO Maria del Mar Mereles Motta [email protected] Octubre,2019 Resumen En los últimos años, las empresas de tecnología y de medios de comu- nicación han apostado por las características de las plataformas de vídeo bajo demanda, con el fin de innovar en los negocios y la industria audiovi- sual, creando una comunidad de usuarios que hacen uso de la visualización conectada para acceder a contenidos en múltiples pantallas cuando quie- ran y donde quieran. En este artículo se pretende analizar el mercado y la experiencia de consumo audiovisual, provocada por la apertura de nuevos canales de distribución online, tratando de entender los servicios de Vi- deo On Demand como una nueva plataforma de transimision de contenido visual. 1. Intoducción La producción y el consumo de música y video se ha transformado radi- calmente desde la llegada de Internet y la digitalización de los dispositivos de realización, distribución y recepción. Encontramos que la transformación apun- ta hacia el aumento de la cantidad y calidad de los contenidos, es decir, más diversidad de contenidos de entretenimiento y con mucha mejor calidad técnica y reproductibilidad. Actualmente, gracias a la revolución digital la distribución de contenido au- diovisual online es realizada por medio de la tecnología streaming, mas conocido como servicio de VoD (Video On Demand). Es posible acceder a contenidos ge- nerados no solo por los propios usuarios (como los youtubers) sino por la indus- tria cultural tradicional (series y películas). Ese acceso multipantalla ha llegado gracias a múltiples dispositivos como las tablets y los teléfonos móviles.