DOCSLIB.ORG

Bric Report Brazil Russia India China

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bric Report Brazil Russia India China BRIC REPORT BRAZIL RUSSIA INDIA CHINA Summary of key film/TV information per country Current status on importation of existing Nordic productions Recommendations on potential sales & promotional initiatives by Annika Pham, October 2012 2 BRIC REPORT BRIC REPORT CONTENTS PAGE 1 Introduction 5 2 Executive Summary 6 2.1 Challenges 2.2 Opportunities 2.3 Key Industry Recommendations 3 BRIC territory profiles 10 3.1 Brazil 3.2 Russia 3.3 India 3.4 China 4 Key Film Festivals in BRIC Territories 25 5 Promotion of Nordic Films and Talent in BRIC Territories 28 6 The Unifrance Approach 30 7 Acknowledgements 32 BRIC REPORT 3 4 BRIC REPORT 1 Introduction The emerging ‘BRIC’ nations of Brazil, Russia, India and China with their combined population of 2.9 billion people (approximately 40% of the global demographics), their geographical sizes and fast-growing economies hold a formidable potential for Nordic film and television exporters. China and Brazil are currently the second and sixth largest economies in the world and are set to keep their positions by the year 2020. Russia and India - currently number 9 and 10 respectively - are expected to become the fourth and fifth biggest economies by 2020, according to the Centre for Economics and Business Research (Source: CEBR, December 2011). In the global film and media industries, professionals are carefully monitoring the rapid socio-economic and cultural developments in these emerging markets where rising middle classes keen to spend their money on filmed entertainment and stimulated by a wider access of content on digital platforms and cinemas are a vast new audience on which to tap. The BRIC nations themselves that used to rely on their domestic market for films produced and watched by their compatriots, are gradually breaking their insularity and offering incentives to foreign producers and investors to develop their own film and television industries and become an integrated part of the global film entertainment business. Hollywood is already a dominating force and key partner to the BRIC countries and other major film nations such as France have for years, cultivated close ties with BRIC, aware of the paramount dual role of film as a purveyor of economic and cultural exchanges. But what presence does Scandinavia have today in those emerging territories? What is the current state of Nordic film and TV drama exported and how could it be improved? How can the Nordic film and TV industry, in particular exporters, maximise the opportunities within BRIC and what tools or assistance are on these exporters wish lists to reach these objectives? With this report commissioned by Nordisk Film & TV Fond and financed by the Nordic Council of Ministers globalisation pool, we address these questions and offer preliminary recommendations drawn from qualitative research and interviews with sales and promotion experts working within the Nordic region. The report offers an overview of the current state of the audiovisual markets and growth forecasts in Brazil, Russia, India and China. We have also detailed the key film festivals in the BRIC countries and in order to compare current and possible future Nordic strategies in those countries we have looked, at some of the initiatives undertaken by the French promotional and export support body Unifrance. BRIC REPORT 5 2 Executive Summary Unique economic growth potential – although challenges have to be addressed. The BRIC nations with their large populations and rapidly growing economies offer a true ray of hope amongst the gloom and doom of Western economies. By 2020, China’s economy will be the second in the world, Russia fourth, India fifth and Brazil sixth according to UK’s Centre for Economic and Business Research. Summarised below by country are the key challenges, followed by the opportunities facing Nordic film and television productions wishing to tap into these markets. 2.1 – Challenges Brazil · Different business practises with difficulty sometimes to keep agreements. · US films dominate market. Russia · Piracy: According to official government figures, piracy exceeds $2 billion in value terms, representing 70- 80% of the entire film market in Russia. DVD sales are gradually shifting to illegal online downloading. · Corruption: Non-transparent business practices still prevail among some areas of Russia’s gigantic media and entertainment market. · Festivals: Too many smaller festivals and the main event - Moscow International Film Festival - lacks in professionalism, according to Nordic film institutes. India · Local films supremacy: The Indian market remains self-sufficient, with local films taking around 80% of all film revenues. However the burgeoning educated urban middle-class is gradually opening up to foreign - and Nordic - films. · Multilingual and multi-cultural society: The distribution market is split into 14 different zones, making it difficult for foreign distributors to have a national reach on Indian screens. Because of the multitude of languages, foreign films would have to be dubbed in five or six different dialects to access the mass market. “For theatrical releases, any other language than English is a major drawback” says Ann Kristin Westerberg from Svensk Filmindustri International. · Concentration of distribution: Over the last few years, distribution has been concentrated in the hands of a few vertically-integrated (and generally larger) companies. This has led to the decline of the independent sector, who are traditionally more inclined to acquire Nordic films. · Small fees paid by distributors. · Censorship: Since the introduction of the Cinematographic Act from 1954, all public screenings have to be validated with a certificate from the Central Board of Film Certification. The censorship board is particularly strict regarding sex, nudity, violence and inter-religious conflict. · Festivals: Too many small festivals that lack in professionalism. China · Regulations: China has a wide range of restrictive mechanisms for film and TV imports of which SARFT (State Administration of Radio, Film and Television) is the main gatekeeper, regulating the country’s radio, TV and film industry. 6 BRIC REPORT · Quotas: Only 20 foreign film imports plus 14 IMAX or 3D films a year are allowed on a revenue sharing basis. The state pressure on business practices allows China to set below-market pricing for imported films. · Censorship: Chinese censorship relies on moral and political elements and although it differs for film and TV imports it is still restrictive due to cultural differences between China and the west. · Piracy: rampant DVD and online piracy is a major problem in China. The Hollywood body MPAA estimates that 95% of the DVD business involves counterfeit copies. · Different Business practices: use of agents for international content transaction is off-putting for many Nordic sales companies. 2.2 – Opportunities · Booming theatrical markets. In 2011 Brazil’s GBO (gross box office) reached $790 million over 141 million admissions (revenues up 12% from 2010), Russia’s GBO passed the $1.15 billion mark in 2011, India’s GBO was $1.85 billion (up 11.5% on 2010), China’s GBO $2 billion (up 28.5%). If screen development seems to have reached saturation in Russia, there is ample space for more screens in Brazil, India and China. · Booming TV market. Television is a highly popular and influential medium in all BRIC nations where hundreds of channels are available and giant media companies operate in a very competitive market. · VOD with biggest growth potential. All BRIC nations are avid Internet-users and VOD service providers are aggressively acquiring content from around the world, including Scandinavia. For a closed territory like China VOD that enables foreign films to by-pass censorship rules offers serious new business opportunities. · Popularity of Scandinavian model, culture and cinema. Scandinavia and its long tradition of assisting developing nations and promoting cooperation is highly popular with BRIC nations such as China and India. Scandinavian cinema has developed niche audiences around the world – including BRIC - that enjoy auteur films from Nordic talents such as Lars von Trier, Bent Hamer and Roy Andersson among others, as well as genre films and children’s films. · Co-production as key to open BRIC markets. With financial rules easing up in the BRIC nations and governments trying to attract foreign investors, co-production opportunities are being championed between Brazil, Russia, India, China and other nations, including the Nordic region. Co-production is also seen as another way to by-pass quotas and penetrate the second biggest film market in the world: China. 2.3 - Key Industry Recommendations Here under is a summary of key recommendations based on qualitative interviews with sales agents and distributors. 2.3.1 Public Support Public support on a Nordic level should focus primarily on trade activities with direct support to BRIC distributors and sales agents of Nordic film and TV drama. Festival support is also essential to reinforce the promotion of Nordic film and TV dramas, and increase audience awareness in the BRIC territories. Distribution support Public action to improve and sustain the export of Nordic films in BRIC territories should focus primarily on the introduction of Nordic distribution and market support schemes similar to successful initiatives in place for instance in Germany (via German Film Services & Marketing) and in France. BRIC REPORT 7 · Re-introduce High Five International Cinema Distribution Support The initiative was launched in 2010 by Nordisk Film & TV Fond thanks to an additional grant from the Nordic Council of Ministers Globalisation Fund for 2010-2012 and ended early 2012. The selective subsidy scheme offered international distributors the possibility to apply for partial coverage of marketing costs relating to the theatrical premieres of Nordic films in their home countries (see chapter 5.3 for details). For sales agents, such a public scheme is vital to guarantee the circulation of Nordic films in the BRIC territories and to raise the awareness of audiences in the BRIC region for Nordic films.
Load more

Recommended publications
  • Another Round
    Presents ANOTHER ROUND A film by Thomas Vinterberg 116 mins, Denmark, 2020 Language: Danish with English subtitles Official Selection: Cannes 2020 and TIFF 2020 Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com LOG LINE Another Round is a fun, moving, life-affirming and thought-provoking drama about friendship, freedom, love – and alcohol. SYNOPSIS There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others go off the rails. It becomes increasingly clear that while alcohol may have fueled great results in world history, some bold acts carry consequences. DIRECTOR’S INTENT THOMAS VINTERBERG “I never drink before breakfast.” The quote is from Churchill, who helped to defeat the Germans and win World War II, while under the excessive and constant influence of alcohol.
    [Show full text]
  • 10.9 De Jesus Precarious Girlhood Dissertation Draft
    ! ! "#$%&#'()*!+'#,-((./!"#(0,$1&2'3'45!6$%(47'5)#$.!8#(9$*!(7!:$1'4'4$!;$<$,(91$42! '4!"(*2=>??@!6$%$**'(4&#A!B'4$1&! ! ! ;$*'#C$!.$!D$*)*! ! ! ! ! E!8-$*'*! F4!2-$!! G$,!H(99$4-$'1!I%-((,!(7!B'4$1&! ! ! ! ! "#$*$42$.!'4!"&#2'&,!:),7',,1$42!(7!2-$!6$J)'#$1$42*! :(#!2-$!;$5#$$!(7! ;(%2(#!(7!"-',(*(9-A!K:',1!&4.!G(<'45!F1&5$!I2).'$*L! &2!B(4%(#.'&!M4'<$#*'2A! G(42#$&,N!O)$0$%N!B&4&.&! ! ! ! ! ! P%2(0$#!>?Q@! ! R!;$*'#C$!.$!D$*)*N!>?Q@ ! ! CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Desirée de Jesus Entitled: Precarious Girlhood: Problematizing Reconfigured Tropes of Feminine Development in Post-2009 Recessionary Cinema and submitted in partial fulfillment of the requirements for the degree of Film and Moving Image Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Lorrie Blair External Examiner Dr. Carrie Rentschler External to Program Dr. Gada Mahrouse Examiner Dr. Rosanna Maule Examiner Dr. Catherine Russell Thesis Supervisor Dr. Masha Salazkina Approved by Dr. Masha Salazkina Chair of Department or Graduate Program Director December 4, 2019 Dr. Rebecca Duclos Dean Faculty of Fine Arts ! ! "#$%&"'%! ()*+,)-./0!1-)23..45!().62*7,8-9-:;!&*+.:<-;/)*4!%).=*0!.<!>*7-:-:*!?*@*2.=7*:8!-:! (.08ABCCD!&*+*00-.:,)E!'-:*7,! ! ?*0-)F*!4*!G*0/0! '.:+.)4-,!H:-@*)0-8EI!BCJD! ! !"##"$%&'()*+(,--.(/#"01#(2+3+44%"&5()*+6+($14(1(4%'&%7%31&)(3*1&'+(%&()*+(3%&+81)%3(9+:%3)%"&(
    [Show full text]
  • New Horizons in Broadcasting
    Conference Proceedings 14TH International Conference & Exhibition on Terrestrial and Satellite Broadcasting Theme : New Horizons in Broadcasting 23rd, 24th and 25th February, 2008 Venue : Hall No. 12, Pragati Maidan, New Delhi (India) Organised By Broadcast Engineering Society (India) 912, Surya Kiran Building, 19 Kasturba Gandhi Marg, New Delhi-110001, India Tel.: +91-11-43520895, 43520896 Fax : +91-11-43520897 E-mail : [email protected] Website : besindia.com Theme: New Horizons in Broadcasting Conference Programme Venue: Pragati Maidan, New Delhi 23RD FEBRUARY 2008 Inauguration Shri. Priya Ranjan Dasmunsi Keynote Speaker Dr. Kazuyoshi Shogen, (1000 hrs) Hon'ble Minister for Information & Broadcasting & Executive Research Engineer, NHK, Japan Parliamentary Affairs, Govt. of India High Tea 1130 Hrs. Guests of Honor Smt. Asha Swaroop Tutorial HDTV Secretary, Ministry of Information & Broadcasting, Govt. of India (1430 - 1600 hrs) Mr. Hiduki Ohtaka Shri. B.S.Lalli, Chief Executive Officer, Prasar Bharati, India Chief Engineer, Panasonic, Japan 24TH FEBRUARY 2008 25TH FEBRUARY 2008 Session – I DTT in the age of Cable and DTH Session – V Digital Radio-New Experiences (0930 - 1100 hrs) Session Chairman - Mr. N.P. Nawani, Secretary General (0930 - 1100 hrs) Session Chairman - Mr. H.R. Singh Indian Broadcasting Foundation (IBF), New Delhi Engineer-in-Chief, All India Radio, India Speakers Speakers 1. Mr. Azzedine Boubguira, DiBcom, France 1. Mr. Peter Senger, Chairman & Director, DRM, Deutsche Welle Market impact of diversity implementation on mobile and Digital Radio Mondiale – New Experience Portable TV receivers 2. Mr. David Birrer, Thomson Broadcast & Multimedia AG, France 2. Mr. L.V. Sharma, Doordarshan, India Innovations in AM Broadcasting DTT – Opportunities and Challenges 3.
    [Show full text]
  • Annual Report 2011
    possibilities ANNUAL REPORT 2011 CONTENTS About the company ............................................................................... 2 Key financial & operational highlights ............................................. 12 Key events of 2011 & early 2012 ...................................................... 14 Bright upside potential from the reorganization ............................. 18 Strong market position ................................................................... 20 Up in the “Clouds” ........................................................................... 22 Chairman’s statement ........................................................................ 24 Letter from the President ................................................................... 26 Strategy .............................................................................................. 28 M&A activity ........................................................................................ 31 Corporate governance ........................................................................ 34 Board of Directors & committees .................................................... 34 Management Board & committees ................................................. 37 Internal Audit Commission ............................................................. 40 Remuneration of members of the Board of Directors and the Management Board ............................................................. 40 Dividend policy ................................................................................
    [Show full text]
  • Retirement Strategy Fund 2060 Description Plan 3S DCP & JRA
    Retirement Strategy Fund 2060 June 30, 2020 Note: Numbers may not always add up due to rounding. % Invested For Each Plan Description Plan 3s DCP & JRA ACTIVIA PROPERTIES INC REIT 0.0137% 0.0137% AEON REIT INVESTMENT CORP REIT 0.0195% 0.0195% ALEXANDER + BALDWIN INC REIT 0.0118% 0.0118% ALEXANDRIA REAL ESTATE EQUIT REIT USD.01 0.0585% 0.0585% ALLIANCEBERNSTEIN GOVT STIF SSC FUND 64BA AGIS 587 0.0329% 0.0329% ALLIED PROPERTIES REAL ESTAT REIT 0.0219% 0.0219% AMERICAN CAMPUS COMMUNITIES REIT USD.01 0.0277% 0.0277% AMERICAN HOMES 4 RENT A REIT USD.01 0.0396% 0.0396% AMERICOLD REALTY TRUST REIT USD.01 0.0427% 0.0427% ARMADA HOFFLER PROPERTIES IN REIT USD.01 0.0124% 0.0124% AROUNDTOWN SA COMMON STOCK EUR.01 0.0248% 0.0248% ASSURA PLC REIT GBP.1 0.0319% 0.0319% AUSTRALIAN DOLLAR 0.0061% 0.0061% AZRIELI GROUP LTD COMMON STOCK ILS.1 0.0101% 0.0101% BLUEROCK RESIDENTIAL GROWTH REIT USD.01 0.0102% 0.0102% BOSTON PROPERTIES INC REIT USD.01 0.0580% 0.0580% BRAZILIAN REAL 0.0000% 0.0000% BRIXMOR PROPERTY GROUP INC REIT USD.01 0.0418% 0.0418% CA IMMOBILIEN ANLAGEN AG COMMON STOCK 0.0191% 0.0191% CAMDEN PROPERTY TRUST REIT USD.01 0.0394% 0.0394% CANADIAN DOLLAR 0.0005% 0.0005% CAPITALAND COMMERCIAL TRUST REIT 0.0228% 0.0228% CIFI HOLDINGS GROUP CO LTD COMMON STOCK HKD.1 0.0105% 0.0105% CITY DEVELOPMENTS LTD COMMON STOCK 0.0129% 0.0129% CK ASSET HOLDINGS LTD COMMON STOCK HKD1.0 0.0378% 0.0378% COMFORIA RESIDENTIAL REIT IN REIT 0.0328% 0.0328% COUSINS PROPERTIES INC REIT USD1.0 0.0403% 0.0403% CUBESMART REIT USD.01 0.0359% 0.0359% DAIWA OFFICE INVESTMENT
    [Show full text]
  • Cornelis Attraction 25-05-11 Emb Tot Onbekend
    Tilburg University Attraction accountability Cornelis, P.C.M. Publication date: 2011 Link to publication in Tilburg University Research Portal Citation for published version (APA): Cornelis, P. C. M. (2011). Attraction accountability: Predicting the unpredictable?!. NRIT Media. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. sep. 2021 Attraction accountability Predicting the unpredictable?! Pieter C.M. Cornelis Attraction accountability Predicting the unpredictable?! Pieter C.M. Cornelis Colofon Attraction accountability: Predicting the unpredictable?! Pieter C.M. Cornelis Proefschrift Universiteit van Tilburg Dissertation Tilburg University Uitgever/Publisher: NRIT Media ISBN: 978-90-75923-66-7 © NRIT Media. Alle rechten voorbehouden. Niets van deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, zonder voorafgaande toestemming van de uitgever. © NRIT Media. All rights reserved. No part of this publication may be produced, stored in a retrieval system, or transmitted, in any form or by any means, without prior permission of the publisher.
    [Show full text]
  • ZOOM- Press Kit.Docx
    PRESENTS ZOOM PRODUCTION NOTES A film by Pedro Morelli Starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar Tyler Labine, Jennifer Irwin and Jason Priestley Theatrical Release Date: September 2, 2016 Run Time: 96 Minutes Rating: Not Rated Official Website: www.zoomthefilm.com Facebook: www.facebook.com/screenmediafilm Twitter: @screenmediafilm Instagram: @screenmediafilms Theater List: http://screenmediafilms.net/productions/details/1782/Zoom Trailer: www.youtube.com/watch?v=M80fAF0IU3o Publicity Contact: Prodigy PR, 310-857-2020 Alex Klenert, [email protected] Rob Fleming, [email protected] Screen Media Films, Elevation Pictures, Paris Filmes,and WTFilms present a Rhombus Media and O2 Filmes production, directed by Pedro Morelli and starring Gael García Bernal, Alison Pill, Mariana Ximenes, Don McKellar, Tyler Labine, Jennifer Irwin and Jason Priestley in the feature film ZOOM. ZOOM is a fast-paced, pop-art inspired, multi-plot contemporary comedy. The film consists of three seemingly separate but ultimately interlinked storylines about a comic book artist, a novelist, and a film director. Each character lives in a separate world but authors a story about the life of another. The comic book artist, Emma, works by day at an artificial love doll factory, and is hoping to undergo a secret cosmetic procedure. Emma’s comic tells the story of Edward, a cocky film director with a debilitating secret about his anatomy. The director, Edward, creates a film that features Michelle, an aspiring novelist who escapes to Brazil and abandons her former life as a model. Michelle, pens a novel that tells the tale of Emma, who works at an artificial love doll factory… And so it goes..
    [Show full text]
  • Stenastiftelsens Arsbok 2019-1.Pdf
    STEN A OLSSONS KULTURSTIPENDIUM 2019 2 0 1 9 INDEX FÖRORD 08 RYGGMÄRGSSKADECENTRUM 12 DAVID DENCIK 28 SARAH KLANG 50 MASAYOSHI OYA 72 MATTIAS NORDKVIST 94 MARTHA OSSOWSKA PERSSON 120 MALIN WÄTTRING 142 EVA LÖFDAHL 164 CLAES ERIKSSON 186 MOTIVERINGAR 214 CURRICULUM VITAE 218 MOTTAGARE AV STEN A OLSSONS KULTURSTIPENDIUM 226 08 FÖRORD 09 NYA FORMER FÖR LÄRANDE, kunskapsförmedling och innova- Men 2019 års utan jämförelse största investering är stödet om tioner fortsätter att vara något av en röd tråd i Stenastiftelsens sammanlagt 50 miljoner kronor till uppbyggandet av Universeums satsningar. 3 juni 2019 invigdes, under högtidliga och festliga visualiseringslabb, under ledning av professor Anders Ynnerman, former, Ryggmärgsskadecentrum Göteborg, som under en upp- världsledande inom sitt område. Här sammanfaller fera av stiftel- byggnadsperiod av fem år beviljats stöd om cirka 34 miljoner sens fokusområden: satsningar på nya innovativa lärandeprocesser, kronor från Stenastiftelsen. Sedan etableringen 2017 har arbetet nydanande teknik och mångdisciplinära samarbeten. Den nya fortskridit i snabb takt. Målet är att detta än så länge unika visualiseringstekniken blir tillgänglig för publik i labbstationer projekt skall bli självfnansierande efter 2021. Centrets utveck- och kommer att kunna användas och utnyttjas i fera olika syften lingspotential är stor och arbetet mycket lovande. I årets katalog och sammanhang. Med hjälp av tekniken kan en djupare förstå- fnns en längre intervju med centrets projektledare Gunilla else och insikt uppnås – om mikrokosmos och makrokosmos, om Åhrén, där syfte och framtidsplaner belyses. rymden, människokroppen, stadsmiljön eller klimatet – för att Det är alltid lika glädjande att ta del av de framgångar som bara ge några exempel. På sikt kommer säkert samarbeten mellan såväl de tidigare kulturstipendiaterna som forskningsprojekten olika institutioner och discipliner att etableras för att dra nytta röner, samt hur stiftelsens uttalade ambition – att stödet skall av de nya upptäckter som avtäcks.
    [Show full text]
  • LE QUATTRO VOLTE a Film by Michelangelo Frammartino
    LE QUATTRO VOLTE a film by Michelangelo Frammartino Europa Cinemas Award Cannes 2010 Italy/Germany/Switzerland 2010 / 88 mins /certificate : tbc Release date: Spring 2011 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk SYNOPSIS In the backcountry of southern Italy’s mountainous region of Calabria, an old shepherd leads his flock to pasture along paths in the hills which have fallen into disuse. Every morning, the church housekeeper trades a handful of the church’s dust for some of the shepherd’s fresh milk. Every evening, the elderly shepherd dissolves the «magic» powder in water and drinks this mixture to remedy his aches and pains. One day, he doesn’t show up for their trade. The next day, he dies in his bed as his goats keep vigil over his passing. A kid takes its first steps, but he is slower than the rest of the flock and falls behind. He falls into a ditch in the middle of the forest. Unable to climb out, he bleats for help, but neither the new shepherd, nor his dog, hear him. The flock leaves the kid in their wake, leaving him to his fate. When he finally emerges from the ditch, he finds that he is alone. He wanders aimlessly until, as night begins to fall, he stumbles onto a majestic fir tree in which he seeks shelter.
    [Show full text]
  • Gujarat Government Overcomes Hurdles of Lockdown in More Than One Innovative Ways
    Gujarat Government overcomes hurdles of lockdown in more than one innovative ways As we have witnessed, COVID-19 has changed scenario of the world. This global pandemic is one of the biggest challenges the international community has ever faced in the recent history. It has also re-emphasised the stark inequalities between the privileged and the marginalised communities. The world also faced the biggest lockdown which obstructed or delayed many essential services in the field of livelihood, health, nutrition, education, etc. And the last mile people suffered most due to the situation. The service providers, especially the governments came across the greatest challenge to continue these essential services without compromising with the regularity, quality and health norms. As per its mandate ICDS scheme fulfils the most critical needs of community at large by providing supplementary nutrition, healthcare and preschool education for pregnant and lactating mothers, adolescent girls and children below six years. To defeat the challenge and to mitigate the impact of COVID-19 the Government of India imposed a nationwide lockdown on 23rd March 2020. Along with all the other important Govt. departments, ICDS came forward with innovative, scalable and practical ideas for safe delivery of essential services even during the lockdown. To ensure the health and safety of beneficiaries and service providers, ICDS, Women & Child Development Department, Gujarat, designed, developed and implemented ‘Umbre Anganwadi’ (means Anganwadi at Door Step) programme using digital platforms and to ensure home delivery of services. Since Anganwadi Centres had shut down on 16th of March (and remain closed till date), they had to come up with the alternative for provision of Hot cook meals.
    [Show full text]
  • Viølences Le Nouveau Cinéma Danois
    La Revue du Ciné-club universitaire, 2018, no 1 Viølences le nouveau cinéma danois Ciné-club Universitaire Illustration SOMMAIRE 1ère de couverture: Valhalla Rising, (Nicolas Winding Refn, 2009). Éditorial Groupe de travail du Ciné-club universitaire 1 Cerise Dumont Cerise Dumont, Manuel Vielma, Julien Praz, Diana Barbosa Pereira, Julien Dumoulin Division de la formation et des étudiants (DIFE) Activités culturelles de l’Université Aux origines de la violence responsable: Ambroise Barras 3 Diana Barbosa Pereira coordination et édition: Christophe Campergue graphisme: Julien Jespersen Thomas Vinterberg 7 Affaires de familles Julien Dumoulin Une conscience chez Lars von Trier? 14 Julien Praz Amor Omnia ou la volonté du 21 sacrifice Manuel Vielma Quand l’espace attaque les corps 29 Cerise Dumont Recevoir La Revue du Ciné-club universitaire gratuitement chez vous? Abonnez-vous! en 1 minute sur culture.unige.ch/revue Éditorial Par Cerise Dumont «Il y a quelque chose de pourri au royaume du Danemark.»1 William Shakespeare Ces mots de Shakespeare, la nouvelle génération et la perversion humaines sont pourtant des thé- de cinéastes danois semble les comprendre mieux matiques centrales dans un grand nombre de leurs que personne. Ils les réactualisent perpétuellement films, au point que l’on peut soupçonner leurs repré- et les hurlent à la face du monde dans des œuvres sentations de jouer un rôle d’exutoire. On retrouve frappantes de violence et de noirceur. Ces réalisa- d’ailleurs cette dimension quasi cathartique dans teurs portent un regard intransigeant sur leur pays de nombreuses autres productions culturelles scan- et leur culture. Ils n’épargnent rien ni personne dinaves.
    [Show full text]
  • ABSTRACT: in India Till 1991 There Was Only One Television Channel
    ABSTRACT: In India till 1991 there was only one television channel –Doordarshan, the public service broadcaster. With the opening up of the Indian economy in early 1990s enabled the entry of private broadcasters in India. The number of television channels has proliferated manifold. By 2005 India had more than 200 digital channels. The number of television channels has grown from around 600 in 2010 to 800 in 2012.This includes more than 400 news and current affairs channel. Technological changes have caused intense competition in news and general entertainment channels, as a result of which there is growth in regional and niche channels. The growth of cable and satellite television and direct to home television services has continued to drive television as the most preferred medium among advertisers. Broadcasters are also tapping into online and mobile media to increase their revenue. This paper seeks to study the impact of privatisation on media policy of the Government of India and how it has evolved various institutional mechanisms to deal with the growth of television as the medium to study the effect of privatisation and convergence on media regulations as television is the most powerful medium. The visual images transmitted by television reach large section of the Indian population irrespective of linguistic and cultural differences. GROWTH OF THE TELEVISION INDUSTRY IN INDIA: Television began in India in 1959 as an educational project supported by the United Nations Educational Scientific and Cultural Organisation (UNESCO) and the Ford Foundation. Television was based on the model of a public broadcasting system prevalent in many countries of Europe.
    [Show full text]