View Annual Report
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Media Control: a Case for Privatization in Transitional Economies
Journal of Media Economics ISSN: 0899-7764 (Print) 1532-7736 (Online) Journal homepage: http://www.tandfonline.com/loi/hmec20 Media Control: A Case for Privatization in Transitional Economies Fran Galetić, Marina Dabić & Timothy Kiessling To cite this article: Fran Galetić, Marina Dabić & Timothy Kiessling (2016) Media Control: A Case for Privatization in Transitional Economies, Journal of Media Economics, 29:3, 111-124, DOI: 10.1080/08997764.2016.1206907 To link to this article: https://doi.org/10.1080/08997764.2016.1206907 Published online: 25 Aug 2016. Submit your article to this journal Article views: 255 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=hmec20 JOURNAL OF MEDIA ECONOMICS 2016, VOL. 29, NO. 3, 111–124 http://dx.doi.org/10.1080/08997764.2016.1206907 Media Control: A Case for Privatization in Transitional Economies Fran Galetića, Marina Dabić a, and Timothy Kiesslingb aFaculty of Economics and Business, University of Zagreb, Zagreb, Croatia; bFaculty of Business Administration, Bilkent University, Ankara, Turkey ABSTRACT The television market can be one of the most dynamic industries if country-specific regulations allow for private competitors to enter the market. The entry of competition changes the market from monopolistic to oligopolistic, which has positive performance implications for the industry. Our research analyzes the development of the Croatian TV market from the monopolistic stage to the current oligopolistic stage. Econometric models in this article aim to estimate the current trend of market concentration and its future potential. -
Kira Kovalenko
Non-Stop Production presents UNCLENCHING THE FISTS a film by KIRA KOVALENKO 97 min - Russia – 2021 – Color - 2,35 - 5.1 INTL PR: INTL SALES: DDA Antoine Guilhem [email protected] [email protected] Photos and press kit can be downloaded from https://www.wildbunch.biz/movie/unclenching-the-fists/ SYNOPSIS In a former mining town in North Ossetia, a young woman struggles to escape the stifling hold of the family she loves as much as she rejects. THE FILM The small mining town of Mizur lies high in the mountains of North Ossetia between steep cliffs. Zaur has settled his family here. He keeps his sons and daughter on a short leash, blind to the line that separates fatherly concern from overprotectiveness. His eldest, Akim, has already run off to the nearest city, Rostov, to find work. Meanwhile, his youngest, Dakko, isn’t entirely sure yet what he wants out of life, while middle child, Ada, is actively planning her own escape. Although she’s already a young woman, her father still insists on treating her like a defenseless little girl. Freeing herself from his strong paternal embrace to finally embark on an independent adult life of her own is proving tougher than she anticipated. But just what is this father trying to protect his daughter from? Kira Kovalenko: The initial inspiration for the story came from a line in Faulkner’s Intruder in the Dust about how, while some people can endure slavery, nobody can stand freedom. The idea of freedom as a burden was the single most important theme for me while I was working on the film. -
Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)
Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 1 October 2020 Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Maria Hristova Lewis and Clark College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the Christianity Commons, European Languages and Societies Commons, and the Other Film and Media Studies Commons Recommended Citation Hristova, Maria (2020) "Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014)," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 1. DOI: 10.32873/uno.dc.jrf.24.2.001 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Corruption as Shared Culpability: Religion, Family, and Society in Andrey Zvyagintsev's Leviathan (2014) Abstract This article engages in close analysis of how Andrey Zvyagintsev depicts corruption and its various manifestations: moral, familial, societal, and institutional, in Leviathan (Leviafan, 2014). While other post- Soviet films address the problem of prevalent corruption in Russia, Zvyagintsev’s work is the first ot provoke strong public reactions, not only from government and Russian Orthodox Church officials, but also from Orthodox and political activist groups. The film demonstrates that the instances of legal and moral failings in one aspect of existence are a sign of a much deeper and wider-ranging problem that affects all other spheres of human experience. -
Programska Shema Je Objavljena Na in Na
Programsko mesto Program Paket Programsko mesto Program Paket Programsko mesto Program Paket 750 SLO 1 HD (16A) PROSTO DOSTOPNI 787 BLOOMBERG (A) PROSTO DOSTOPNI 850 FILMBOX PREMIUM HD FILMBOX 751 SLO 2 HD (16A) PROSTO DOSTOPNI 788 BLOOMBERG (HB) PROSTO DOSTOPNI 851 FILMBOX EXTRA HD FILMBOX 754 HRT 1 (16A) PROSTO DOSTOPNI 789 CNBC EUROPE (A) PROSTO DOSTOPNI 852 FILMBOX PLUS FILMBOX 757 HRT 4 (16A) PROSTO DOSTOPNI 790 RT HD (HB) PROSTO DOSTOPNI 853 FILMBOX ARTHOUSE FILMBOX 760 BN MUSIC (16A) PROSTO DOSTOPNI 791 RT (A) PROSTO DOSTOPNI 854 DOCUBOX HD FILMBOX 762 OTV VALENTINO (16A) PROSTO DOSTOPNI 793 RTDOC HD (HB) PROSTO DOSTOPNI 855 FIGHTBOX HD FILMBOX 765 K::CN 1 (16A) PROSTO DOSTOPNI 794 CHANNEL ONE RUSSIA (HB) PROSTO DOSTOPNI 856 FAST&FUN BOX HD FILMBOX 766 K::CN 2 (16A) PROSTO DOSTOPNI 795 NICKELODEON (A) PROSTO DOSTOPNI Filmbox Paket 857 GAMETOON HD FILMBOX 767 K::CN 3 (16A) PROSTO DOSTOPNI 798 SKY SPORT NEWS HD (A) PROSTO DOSTOPNI 858 FASHIONBOX FILMBOX 768 TV DUGA (16A) PROSTO DOSTOPNI 799 POWER TV (HB) PROSTO DOSTOPNI 859 360 TUNEBOX FILMBOX 770 YU PLANET BEČ (16A) PROSTO DOSTOPNI 800 FTV (HB) PROSTO DOSTOPNI 860 EROX FILMBOX 771 RTCG SAT HD (16A) PROSTO DOSTOPNI 801 RTL (A) PROSTO DOSTOPNI 861 EROXXX HD FILMBOX 772 TV 21 M (16A) PROSTO DOSTOPNI 802 RTL 2 (A) PROSTO DOSTOPNI 900 BRAZZERS TV EUROPE CLUB X 774 ZICO TV PROSTO DOSTOPNI 803 3SAT HD (A) PROSTO DOSTOPNI 905 DUSK! CLUB X Prosto dostopni Prosto 777 RAI UNO (HB) PROSTO DOSTOPNI 804 ANIXE HD (A) PROSTO DOSTOPNI 910 HUSTLER TV HD CLUB X Odrasli 778 RAI DUE (HB) PROSTO DOSTOPNI -
Klasa: UP/I 034-03/2012-01/002 Urbroj: 580-05/65-2013-116 Zagreb, 28
Klasa: UP/I 034-03/2012-01/002 Urbroj: 580-05/65-2013-116 Zagreb, 28. ožujka 2013. Agencija za zaštitu tržišnog natjecanja temeljem članka 30. točke 2., članka 31. i članka 49. stavka 2. i 3. Zakona o zaštiti tržišnog natjecanja („Narodne novine“, broj 79/09), u upravnoj stvari utvrđivanja narušavanja tržišnog natjecanja zlouporabom vladajućeg položaja protiv poduzetnika Hrvatska radiotelevizija, sa sjedištem u Zagrebu, Prisavlje 3, kojeg zastupa Odvjetničko društvo [...], iz Z., [...], po službenoj dužnosti, temeljem odluke Vijeća za zaštitu tržišnog natjecanja u sastavu: mr.sc. Olgica Spevec, predsjednica Vijeća, Mladen Cerovac, mag.iur., zamjenik predsjednice Vijeća, Milivoj Maršić, dip.oec., Vesna Patrlj, dipl.iur. i dr.sc. Mirna Pavletić-Župić, članovi Vijeća, sa 134. sjednice, održane 28. ožujka 2013., donosi sljedeće R J E Š E NJ E 1. Prihvaćaju se mjere i uvjeti predloženi od strane Hrvatske radiotelevizije, sa sjedištem u Zagrebu, Prisavlje 3, navedeni u točki 3. izreke ovoga rješenja, kao dostatni za otklanjanje negativnih učinaka i ponovnu uspostavu tržišnog natjecanja na mjerodavnom tržištu pružanja medijskih usluga televizijskog emitiranja programa nacionalne pokrivenosti. 2. Utvrđuje se da predložene mjere i uvjeti iz točke 3. izreke ovoga rješenja ovim rješenjem postaju obvezni za Hrvatsku radioteleviziju, sa sjedištem u Zagrebu, Prisavlje 3, te da nakon ispunjenja naloga iz točke 4. i 5. izreke ovoga rješenja nema uvjeta za daljnje vođenje postupka protiv Hrvatske radiotelevizije. 3. Mjere i uvjeti koje je predložila Hrvatska radiotelevizija, sa sjedištem u Zagrebu, Prisavlje 3, su sljedeći: a) Hrvatska radiotelevizija će donijeti Opće uvjete reemitiranja programa HRT-a na „pay TV“ platformama u Republici Hrvatskoj, čiji nacrt je dostavila Agenciji za zaštitu tržišnog natjecanja u podnesku od 5. -
PDF Presseheft
PRESSEHEFT ZWISCHEN VERRAT UND EHRE Ab 6. Juli 2017 im Kino Ein Film von Alexey Mizgirev Eine Produktion der Non-Stop Production Sprache: Deutsch Spielzeit: 110 Minuten WWW.DERDUELLIST-FILM.DE im Verleih der Kinostar Filmverleih GmbH Inhaltsverzeichnis: Synopsis .................................................................................S.3 Der Regisseur .......................................................................S.4 Der Produzent ......................................................................S.5 Filme des Produzenten ....................................................S.6 Anmerkungen des Regisseur und Produzenten .....S.7 Details .....................................................................................S.8 Kontakt ...................................................................................S.9 2 DER DUELLIST INHALT Sankt Petersburg, 1860. Der im Ruhestand lebende Offizier Yakovlev ist ein mysteriöser und unbesiegbarer Berufsduellist, der gegen eine Gebühr für all jene kämpft, welche zu schwach, untrainiert oder verängstigt sind um ihre Duelle selbst auszutragen. Aber er hat ein dunkles Geheimnis: Der mächtige Graf Beklemishev beschuldigte ihn eines Verbrechens, welches er nicht begangen hatte, nahm ihm seinen Titel und schickte ihn zum Sterben ins Exil. Aber Yakovlev überlebte. Unter neuer Identität kehrt er nach St Petersburg zurück um Rache zu nehmen. Dabei verliebt er sich in die junge Fürstin Martha. Um diese Liebe zu retten und seine Rache zu bekommen, muss Yakovlev seine Identität enthüllen -
Digitalna Programska Shema
Programska shema TOTAL TV EXTRA TOTAL TV START TELEVIZIJSKI PROGRAMI Slovenski podnapisi Programsko mesto 1 SLOVENIJA 1 1 2 SLOVENIJA 2 HD 2 3 POP TV HD 3 4 KANAL A HD 4 5 TV3 MEDIAS 5 6 PLANET TV 6 7 BRIO 7 8 GOLICA TV 10 9 NOVA24 13 10 GOLD TV 14 11 DISCOVERY CHANNEL 20 12 NATIONAL GEOGRAPHIC 21 13 VIASAT EXPLORER 22 14 HISTORY CHANNEL 23 15 VIASAT HISTORY 24 16 ANIMAL PLANET 25 17 VIASAT NATURE 26 18 ID 27 19 CRIME & INVESTIGATION 28 20 CBS REALITY 29 21 RT DOC HD (HB) 31 22 AXN 40 23 DIVA 41 24 FOX 42 25 FOX LIFE 43 26 FOX CRIME 44 27 COMEDY CENTRAL EXTRA 45 28 SCIFI 46 29 TV1000 50 30 FOX MOVIES 51 31 CINESTAR TV 52 32 CINESTAR ACTION 53 33 CINESTAR FANTASY 54 34 SK 1 SLO 60 digitalna 35 SK 2 SLO 61 programska shema 36 SK 3 SLO 62 37 ŠPORT TV 1 63 Foto: Shutterstock Foto: 38 EUROSPORT HD (HB) 64 MAREC 2018 TOTAL TV EXTRA TOTAL TV EXTRA TOTAL TV START TOTAL TV START TELEVIZIJSKI PROGRAMI TELEVIZIJSKI PROGRAMI Slovenski podnapisi Slovenski podnapisi Programsko mesto Programsko mesto 39 EUROSPORT 2 HD (HB) 65 83 PALMA PLUS 126 40 SK GOLF 66 84 RTRS 128 41 LOV IN RIBOLOV 67 85 OBN 129 42 FIGHT CHANNEL 68 86 TV1 130 43 MINIMAX 80 87 24 VESTI 131 44 DISNEY 81 88 RTV 1 – VOJVODINA 135 45 JIM JAM 85 89 RTL HR 136 46 24KITCHEN HD 90 90 RTL 2 HR 137 47 E! 91 91 PRVA 141 48 TLC 92 92 O2.TV 142 49 MTV EUROPE 102 93 PRVA PLUS 143 50 IDJ TV HD 103 94 SK HD 160 51 PINK MUSIC 104 95 SK 3 HD 161 52 BBC WORLD NEWS (HB) 113 96 SK 2 HD 162 53 RUSSIA TODAY HD (HB) 114 97 FOX HD 163 54 FRANCE 24 HD (HB) 115 98 FOX LIFE HD 164 55 FRANCE 24 FR HD (HB) 116 99 NATIONAL GEOGRAPHIC HD 165 56 DEUTSCHE WELLE (HB) 117 100 VIASAT NATURE/HISTORY HD 166 57 N1 SRBIJA HD 119 101 DISCOVERY SHOWCASE HD 167 58 RTV 1 VOJVODINA 123 102 ANIMAL PLANET HD 168 59 N1 BIH 127 103 NAT. -
Sustainability Index 2009
MEDIA SUSTAINABILITY INDEX 2009 The Development of Sustainable Independent Media in Europe and Eurasia MEDIA SUSTAINABILITY INDEX 2009 The Development of Sustainable Independent Media in Europe and Eurasia www.irex.org/msi Copyright © 2009 by IREX IREX 2121 K Street, NW, Suite 700 Washington, DC 20037 E-mail: [email protected] Phone: (202) 628-8188 Fax: (202) 628-8189 www.irex.org Project manager: Leon Morse IREX Project and Editorial Support: Blake Saville, Mark Whitehouse, Linda Trail, Eleeza Agopian, Lillie Paquette Copyeditors: Carolyn Feola de Rugamas, Carolyn.Ink; Kelly Kramer, WORDtoWORD Editorial Services; OmniStudio Design and layout: OmniStudio Printer: Kirby Lithographic Company, Inc. Notice of Rights: Permission is granted to display, copy, and distribute the MSI in whole or in part, provided that: (a) the materials are used with the acknowledgement “The Media Sustainability Index (MSI) is a product of IREX with funding from USAID.”; (b) the MSI is used solely for personal, noncommercial, or informational use; and (c) no modifications of the MSI are made. Acknowledgment: This publication was made possible through support provided by the United States Agency for International Development (USAID) under Cooperative Agreement No. DGS-A- 00-99-00015-00. Disclaimer: The opinions expressed herein are those of the panelists and other project researchers and do not necessarily reflect the views of USAID or IREX. ISSN 1546-0878 ii USAID USAID is an independent federal government agency that receives overall foreign policy guidance from the Secretary of State. Our Work supports long-term and equitable economic growth and advances US foreign policy objectives by supporting: • economic growth, agriculture and trade; • global health; and, • democracy, conflict prevention and humanitarian assistance. -
Changing the Market Position of Public Television – Case of Croatia, Slovenia and Hungary
KÖZ-GAZDASÁG 2021/1 159 Fran Galetić1: Changing the Market Position of Public Television – Case of Croatia, Slovenia and Hungary The market position of public television channels has been changing over the last three decades. From monopolists, public televisions have become just one of the players on the television market. This paper analyses the position of public television in Croatia, Slovenia and Hungary. These neighbouring countries are similar but have different market power of public TV. Croatia has a strong public television, Hungary has very week public television, and Slovenia is in the middle. The aim of this paper is to show how the audience of public TV channels has been changing and based on this data, the author will estimate regression models for future forecasting of audience share for public TV channels in all three countries. This will enable the analysis of the market position of the whole group of public TV channels in each country. 1. Introduction Public television was the first television that occurred in every European country. At the time of starting, these televisions were referred to as state televisions. Later, they moved from state television to public television, which is the form that is used nowadays. At the beginning, in the 1950s, all these televisions were monopolists. This means that they were the only television channels on the national level. In the 1970s state televisions have started to broadcast the second channel, but that was still monopoly, as both channels were broadcasted by the same television company. In most European countries, the late 1980s and early 1990s were characterized by the liberalization of the television market and first private television channels started to appear. -
PRESS RELEASE Berlin, 22.10.2012
PRESS RELEASE Berlin, 22.10.2012 A COMPANY CONSULTING & LICENSING AG is now A COMPANY FILMED ENTERTAINMENT AG CLOUD ATLAS in Russia & Eastern Europe November 1st, the European Premiere of CLOUD ATLAS will be celebrated in Moscow. The three directors Lana Wachowski, Tom Tykwer and Andy Wachowski, together with Halle Berry, Hugo Weaving and Donna Bae, will join the event. CLOUD ATLAS will be released by A COMPANY RUSSIA in close cooperation with 20th Century Fox Russia. Simultaneously with Russia, the film will be released in the Ukraine by B&H and, on November 9, in Bulgaria by Alexandra Films and Poland through KinoSwiat, market leader distributors in each of the territories. In Hungary, the Czech Republic and Slovakia, the film will hit the screens November 22, released respectively by Budapest Film and EEAP CZ-SK, both subsidiaries of A COMPANY. CLOUD ATLAS is the first title that A COMPANY RUSSIA will bring onto screens in Russia. Til Schweiger’s current hit GUARDIANS will follow next year, January 10, with Renny Harlin’s new feature DYATLOV PASS INCIDENT, February 23. DYATLOV PASS is produced by Alexander Rodnyansky’s company A.R. Films - a suspense thriller based on an actual mysterious incident which occurred in Russia’s remote Dyatlov Pass in 1959. “It’s exciting and thrilling to have such an impressive masterpiece as CLOUD ATLAS as the first film being released by A COMPANY RUSSIA. The cooperation with 20th Century Fox, who are handling the bookings, is fantastic. The film will be released on over 1.400 screens, thanks to Fox. -
Russian Film Industry 2017
RUSSIAN FILM INDUSTRY 2017 RUSSIAN FILM INDUSTRY 2017 1 2 3 Photo: Monkey Business Images/Shutterstock.com Federal Fund for Economic and Social Support of Russian Cinematography (Cinema Fund) InterMedia News Agency RUSSIAN FILM INDUSTRY – 2017 Analytical Study Moscow, 2018 4 1 Russian Film industry – 2017 Contents RUSSIAN FILM INDUSTRY – 2017 The study was conducted by: Contents CHAPTER 3. AUDIENCE 148 CHAPTER 7. CINEMA EDUCATION 242 Written and Compiled by: Poll of the Russian Public Opinion Research State Universities Offering Pavel Solomatin INTRODUCTION 5 Center (VCIOM) and the Cinema Fund 150 Cinematography Programs 244 Editors: Characteristics of the Audience 151 Schools, Courses, and Private Universities Offering Training in Cinema-Related Maria Sysoeva, Natalia Galiulova About the Study 5 Choice of Films 153 Professions 246 Proof-reader: Study Methodology 5 Online Activity After Viewing 155 Tatiana Treister Terms Used in the Study 6 Stance on Russian Films 156 Legislative Framework 14 Online Purchase of Tickets 158 CHAPTER 8. TELEVISION 250 Conditions for Development Project Manager: of the Film Industry in Russia 19 CHAPTER 4. EXHIBITION 162 Role of Television in Media Industry 252 Natalia Galiulova Terrestrial Television 252 Editor-in-chief: Cinema Sites and Screens 164 Viewer Interest Dynamics 255 Evgeniy Safronov 20 Cinema Provision in Cities 182 CHAPTER 1. FILM DISTRIBUTION Films Ratings 258 Characteristics of Cinema Sites Subscription TV 263 Film Distribution 22 in Terms of the Number of Screens 191 Major Players in the Subscription TV Market 264 Expert Analysis Group Market Volume of Film Distribution in Russia 38 Largest Cinema Chains 191 Best Distribution Dynamics 43 Top 100 Cinema Sites by Admissions 194 Anton Malyshev, Fedor Sosnov, Larisa Iusipova, Marina Vladykina, Film Rating System 50 CHAPTER 9. -
Standing Committee on Copyright and Related Rights
E SCCR/30/5 ORIGINAL: ENGLISH DATE: JUNE 2, 2015 Standing Committee on Copyright and Related Rights Thirtieth Session Geneva, June 29 to July 3, 2015 CURRENT MARKET AND TECHNOLOGY TRENDS IN THE BROADCASTING SECTOR prepared by IHS Technology IHS TECHNOLOGY Current Market and Technology Trends in the Broadcasting Sector May 2015 ihs.com Introduction Like so many facets of the modern world, television has been transformed by the application of digital technologies and the parallel and related development of the fast evolving Internet. While some broadcasters – especially those in developing economies - still utilise traditional analogue transmission techniques, most have transitioned to more efficient and powerful digital means of sending their programming to viewers. Use of digital technologies has enabled explosive growth in the number of channels and choices of programmes offered. It has also ceded more control to the viewer, allowing on-demand access to programming – not only from broadcasters and pay TV service providers, but also increasingly from online video services delivered over the open Internet. Indeed, as this report outlines, the definitional boundaries between broadcasting and other forms of digital video delivery are increasingly blurred. The viewer is undoubtedly a winner as a result of these developments as we move ever closer to the ultimate provision of ubiquitous choice, convenience and control. And broadcasters are usually winners too as evidenced by the impressive global TV market growth described in this report. Inevitably, that growth and technological development is not evenly distributed geographically, and we outline some of the key regional trends in the pages that follow, as well as some more focused snapshots of the market evolution within selected countries.