Atlantic Screen Scores

Total Page:16

File Type:pdf, Size:1020Kb

Atlantic Screen Scores ATLANTIC SCREEN SCORES Business Plan under the Enterprise Investment Scheme Disclaimer The Company has taken all reasonable care to ensure that the facts stated in this Business Plan are true and accurate in all material respects and that there are no other material facts the omission of which would make any statement in this Business Plan misleading. All statements regarding the Company’s business, financial position and prospects should be viewed in the light of the risk factors set out in the section entitled ‘Risk Factors’ in this document. None of the officers, employees, agents, advisers or representatives of the Company makes any representations or gives any warranties or indemnities or undertakings, express or implied, with respect to the truthfulness, accuracy or completeness of the contents of this Business Plan. None of the information in this Business Plan, including the illustrative financial projections, constitutes a profit forecast or a prediction. Such information is included for illustrative purposes only. These projections seek to give an indication of one possible outcome if all the assumptions are attained. Use of Photographic Images This Business Plan contains publicity images of completed films whose music compositions or score have been created, facilitated or administered by Management in their capacity as directors of third party companies. The images do not purport to represent music compositions or scores of film productions with which the Company has been, or is to be involved, or has created or will create in the future. They represent solely an indication of the types of films in respect of which the Company is intending to create music compositions or scores. Permission has been granted to the Company by the copyright owner of the images concerned to allow the use of such images in this Business Plan. Business Plan Overview Atlantic Screen Scores Limited has been established for the purposes of creating and exploiting intellectual property in the form of original music composed for major internationally released films and television productions. Atlantic Screen Scores will work with producers to create original music for film and television by contracting with established international composers to create these music compositions. The majority of music created will be the incidental and background music (known as ‘the score’) for films and television. Atlantic Screen Scores Limited will own the intellectual property in the composed music from origination and will retain ownership of the copyright created. Atlantic Screen Scores Limited will exploit the ownership of the copyrights, earning income in the form of copyright royalties collected worldwide from television companies and theatres by the local performing right societies. In order to maximise the income arising, Atlantic Screen Scores Limited will engage Copyright Administration Services Limited to administer the efficient collection of royalties on its behalf. Copyright Administration Services Limited is one of the UK’s leading music publishing administration companies and administers many catalogues owned by third party rights holders. The Business Plan anticipates a maximum Subscription of £2m. Strictly Private and Confidential 1 2 Strictly Private and Confidential CONTENTS 1 Glossary of Defined Terms 4 2 Executive Summary 6 3 The Investment 7 4 Operating The Company 8 5 Business Plan Summary 9 6 Management Of Company 11 7 Established Industry Expertise 12 8 Commercial Assumptions 14 9 Risk Factors 15 10 Indicative Investors’ Outcome 17 11 Corporate Structure 18 12 Related Party Contracts 20 13 Shareholders’ Possible Exit Strategies 21 Appendix A: The Music Publishing Industry 22 Appendix B: Business Plan Fundamentals 27 Appendix C: Management Profiles In Detail 32 Appendix D: Commercial Assumptions 34 Strictly Private and Confidential 3 1 Glossary of Defined Terms Advance Assurance An assurance from HMRC, in advance of applications for Shares, that, on the basis of the information provided, HMRC will regard the Shares issued as satisfying the requirements of EIS Articles of Association The agreement providing for the management of the Company and the conduct of its business under the Companies Act, recording the rights, duties and responsibilities of its members Atlantic Screen Scores Atlantic Screen Scores Limited Business Plan A description of the intended activities and financial projections of the Company as set out in this document Catalogue The various Compositions owned by the Company Commercial Assumptions The assumptions set out in Section 8 and Appendix D Companies Act Companies Act 2006 Company Atlantic Screen Scores Completion Bond A guarantee that the film will be completed without further recourse to the film’s investors or financiers for additional funding Composition An original work comprising music or music and lyrics fixed in tangible form in respect of which a copyright subsists EIS The Enterprise Investment Scheme as described in Part 5 of ITA EIS Deferral Relief Capital gains deferred on reinvestment pursuant to Section 150C and Schedule 5B of TCGA EIS Relief Income tax relief and/or exemption from tax in respect of chargeable gains which is available with EIS EIS Shareholder A holder of a Share in respect of which EIS is to be claimed Film Any record, however made, of a sequence of visual images that is capable of being used as a means of showing that sequence as a moving image HMRC Her Majesty’s Revenue & Customs IFA An Independent Financial Adviser regulated by the Financial Services Authority or successor agency IRR The internal rate of return, being the annualised discounted rate at which the net present value of the relevant cash flows sum to zero, calculated as set out in the Commercial Assumptions ITA Income Tax Act 2007 (as amended) Management The directors of the Company from time to time Management Bonus A performance bonus due and payable to Management at a specified future date based on a determined share of profits Memorandum of Association The agreement under the Companies Act of the founder shareholders to form and become a member of the Company and to take at least one Share Net Publisher Share (‘NPS’) The Company’s share of publishing royalty income received on an annual basis Performing Right Society (‘PRS’) The UK organisation responsible for the collection of performance royalties 4 Strictly Private and Confidential Risk Factors The risk factors set out in Section 9 Score The incidental and background music in a completed film or television programme Share One ordinary share of £1 in the capital of the Company and subject to the rights, benefits and restrictions set out in the Articles of Association Shareholder A holder of a Share Subscription The aggregate sums raised under this Business Plan TCGA The Taxation of Chargeable Gains Act 1992 (as amended) Strictly Private and Confidential 5 2 Executive Summary Ӷ The Opportunity An investment in Atlantic Screen Scores aims to generate an attractive return from the business of creating, publishing and exploiting original music from important internationally released films and television series. It is intended that the investor will benefit from an equity investment in a company that will aggregate ownership of newly created film and television scores and thereby grow an exploitable Catalogue which will increase in value over time. The Company generates royalty income from cinemas and broadcasters, and fee income from the re-use of the music, for instance in commercials and trailers. It is intended that the Company will become a valuable asset in the hands of its Shareholders whereby it may continue as a successful business or be offered for sale subject to Shareholder approval either to another music publishing company or by way of a public offer. Under this Business Plan, Atlantic Screen Scores will be the owner of the intellectual property created and on its behalf Copyright Administration Services Limited will administer those copyrights for a fee. With the Hollywood studios cutting back on the number of films they produce, choosing to concentrate on their franchiseable sequels, and with global box office continuing to rise year on year, there is the opportunity for strong independent films to perform well. Atlantic Screen Scores relies upon investing in independent films as opposed to studio films, as the studios retain all the music copyright for the films they produce. According to the MPAA annual theatrical markets statistical report, global box office continues to grow, with box office up 4.0% in 2013 to $35.9 billion. Atlantic Screen Scores will earn royalties from the fees paid by all licensed broadcasters of film and music and in many countries from the box office receipts paid to the performing right societies in each territory where this income source is recognised. 6 Strictly Private and Confidential 3 The Investment Ӷ Atlantic Screen Scores Limited Registered in England and Wales No: 08811587 Private Placing of up to 2,000,000 Ordinary Shares at £1 per share payable in full on application Share Capital following the investment (assuming full subscription) Authorised Issued and fully paid Number £ Number £ Ordinary Shares of 2,000,001 2,000,001 2,000,001 2,000,001 £1 each Ø 1 Ordinary Share has been issued at par value and is held by Simon Fawcett. Ø 2,000,000 Shares of par value £1 each will be offered for Subscription. Strictly Private and Confidential 7 4 Operating the Company It is intended that the Company’s business will be conducted on a commercial basis based on the judgement and experience of Management. It is Management’s intention to operate the Company to enable it to be a qualifying company under EIS. The Company has applied for Advance Assurance for its proposals under EIS from HMRC. Management expect to run the Company in such a manner that it will satisfy the EIS qualifying conditions throughout the relevant period of three years from either the date the Shares are issued or, if later, from the date of commencement of trade.
Recommended publications
  • This Opinion Is Not a Precedent of the TTAB in Re Scram Software Pty Ltd
    This Opinion is not a Precedent of the TTAB Mailed: November 23, 2016 UNITED STATES PATENT AND TRADEMARK OFFICE _____ Trademark Trial and Appeal Board _____ In re Scram Software Pty Ltd. _____ Serial No. 86658580 _____ Joshua M. Gerben, Gerben Law Firm PLLC, for Scram Software Pty Ltd. Brittany A. Estell, Trademark Examining Attorney, Law Office 122, John Lincoski, Managing Attorney. _____ Before Zervas, Hightower, and Larkin, Administrative Trademark Judges. Opinion by Larkin, Administrative Trademark Judge: Scram Software Pty Ltd. (“Applicant”) seeks registration on the Principal Register of the mark CLOUD SHERIFF in standard characters (“CLOUD” disclaimed) for goods and services identified as: “Computer software for encrypting, decrypting, synchronizing, replicating, processing, transmitting, exchanging, storing, backing up, archiving, organizing, sharing, modifying, updating, digitally signing, watermarking, removing metadata from, manipulating and accessing files and directories, data, documents, information, messages, emails, text, photos, images, graphics, music, audio, video, and multimedia content via Serial No. 86658580 global and local computer networks and other communication networks; computer software for encrypting, decrypting, integrity checking and detecting unauthorized activity of computer files, directories, documents, folders, data and information; computer software for use in a cloud or networked computing environment providing data encryption and privacy relating to storing, organizing, transmitting, processing,
    [Show full text]
  • Guardian and Observer Editorial
    Monday 01.01.07 Monday The year that changed our lives Swinging with Tony and Cherie Are you a malingerer? Television and radio 12A Shortcuts G2 01.01.07 The world may be coming to an end, but it’s not all bad news . The question First Person Are you really special he news just before Army has opened prospects of a too sick to work? The events that made Christmas that the settlement of a war that has 2006 unforgettable for . end of the world is caused more than 2 million people nigh was not, on the in the north of the country to fl ee. Or — and try to be honest here 4 Carl Carter, who met a surface, an edify- — have you just got “party fl u”? ing way to conclude the year. • Exploitative forms of labour are According to the Institute of Pay- wonderful woman, just Admittedly, we’ve got 5bn years under attack: former camel jockeys roll Professionals, whose mem- before she flew to the before the sun fi rst explodes in the United Arab Emirates are to bers have to calculate employees’ Are the Gibbs watching? . other side of the world and then implodes, sucking the be compensated to the tune of sick pay, December 27 — the fi rst a new year’s kiss for Cherie earth into oblivion, but new year $9m, and Calcutta has banned day back at work after Christmas 7 Karina Kelly, 5,000,002,007 promises to be rickshaw pullers. That just leaves — and January 2 are the top days 16 and pregnant bleak.
    [Show full text]
  • The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars
    International Journal of Communication 6 (2012), 606–625 1932–8036/20120606 The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars RAMON LOBATO1 JULIAN THOMAS Swinburne University of Technology From the perspective of copyright holders, piracy represents lost revenue. In this article we argue that piracy nevertheless has important generative features. We consider the range of commercial opportunities that piracy opens up outside of the media industries, identifying four overlapping fields of legal anti-piracy enterprise: technological prevention, revenue capture, knowledge generation, and policing/enforcement. Our analysis notes the commercialization of these activities and their close relationship with the informal media economy. A case study of recent “speculative invoicing” lawsuits demonstrates the extent of this commercialization and its detachment from the mainstream content industries. A key strategy of content industry groups during their long war on piracy has been to associate copyright infringement with lost revenue for artists, producers, and media businesses. Consumers are now familiar with the claim that piracy directly threatens the livelihoods of cultural workers and generates large profits for criminal organizations, bootleggers, and online intermediaries. Hence, the model of a zero-sum economic redistribution between two camps—producers and pirates—with the latter cannibalizing the revenues of the former. This is an ever-present theme in anti-piracy discourse, exemplified by the Motion Picture Association of America’s claim that “copyright theft means declining incomes, lost jobs and reduced health and retirement benefits” (MPAA, 2010, p. 2) and by the Australian Federation Against Copyright Theft’s warning that “film and TV piracy rips more than $230 million out of the Australian economy each year” (AFACT, 2008, p.
    [Show full text]
  • Report of the Auditors
    UTV Media plc Report & Accounts 2013 Contents Summary of Results 2 Chairman’s Statement 3 Who We Are 5 Radio GB 6 Radio Ireland 8 Television 10 Strategic Report 12 Board of Directors 27 Corporate Governance 30 Corporate Social Responsibility 43 Report of the Board on Directors’ Remuneration 48 Report of the Directors 63 Statement of Directors’ Responsibilities in relation to the Group Financial Statements 67 Directors’ Statement of Responsibility under the Disclosure and Transparency Rules 67 Report of the Auditors on the Group Financial Statements 68 Group Income Statement 71 Group Statement of Comprehensive Income 72 Group Balance Sheet 73 Group Cash Flow Statement 74 Group Statement of Changes in Equity 75 Notes to the Group Financial Statements 76 Statement of Directors’ Responsibilities in relation to the Parent Company Financial Statements 120 Report of the Auditors on the Parent Company Financial Statements 121 Company Balance Sheet 122 Notes to the Company Financial Statements 123 Registered Office and Advisers 126 1 UTV Media plc Report & Accounts 2013 Summary of Results Financial highlights on continuing operations* • Group revenue of £107.8m (2012: £112.3m) - down 11% in the first half of the year and up 3% in the second half • Pre-tax profits of £16.9m (2012: £20.1m) • Group operating profit of £20.1m (2012: £23.4m) - down 36% in the first half of the year and up 10% in the second half • Net debt £49.1m (2012: £49.4m) • Diluted adjusted earnings per share from continuing operations of 14.27p (2012: 16.63p) • Proposed final dividend of 5.25p maintaining full year dividend of 7.00p (2012: 7.00p) * As appropriate, references to profit include associate income but exclude discontinued operations.
    [Show full text]
  • Layout 1 (Page 1)
    BUSINESS WITH PERSONALITY BRITS HEAD JULIA ROBERTS STARS FOR GAMES IN EAT, PRAY, LOVE COMMONWEALTH GETS OK BUT SITE WEEKEND FILM REVIEWS P33 STILL A MESS P38 Issue 1,227 Friday 24 September 2010 www.cityam.com FREE GEOGHEGAN QUITS AFTER MISSING OUT ON CHAIRMAN ROLE Profits hit GULLIVER TO BE CEO • FLINT IS NEW CHAIR • MACKAY TO BE CFO record high at Arsenal ▲ EXCLUSIVE BY FRANK DALLERES COUP▲ AT HSBC ARSENAL will today announce record BANKING BY VICTORIA BATES pre-tax profits of around £55m, an increase of £10m, as the football club HSBC CHIEF executive Michael continues to reap the rewards of mov- Geoghegan is set to step down from ing to the Emirates Stadium. his role before the end of the year to City A.M. understands that the make way for investment banker strong performance of Arsenal Stuart Gulliver, after a boardroom Holdings’ property development arm coup that will rock the banking sector. has driven an increase in revenue. Geoghegan’s ego will be dealt a fur- The north Londoners’ continued ther blow with the appointment of success off the field will see them HSBC’s finance director Douglas Flint record an increase in turnover for the as chairman, a role Geoghegan is fourth successive year since leaving understood to have coveted since Highbury for their new home. Stephen Green’s resignation earlier Pre-tax profit is significantly up on this month. last year’s figure of £45.5m for the HSBC’s nominations committee has year ending 31 May. That improve- submitted recommendations for ment has been aided by strong sales of Gulliver and Flint to the board, paving apartments in the group’s Highbury the way for official approval of the Square Development.
    [Show full text]
  • The Bbc Trust Report: On-Screen and On-Air Talent Including an Independent Assessment and Report by Oliver & Ohlbaum Associates
    THE BBC TRUST REPORT: ON-SCREEN AND ON-AIR TALENT INCLUDING AN INDEPENDENT ASSESSMENT AND REPORT BY OLIVER & OHLBAUM ASSOCIATES MAY 2008 2 BBC TRUST CONCLUSIONS The issue of talent costs The BBC Trust operates to protect the interests of licence fee payers who pay for and own the BBC. As part of this we seek to ensure quality and value for money for licence fee payers and to challenge BBC management to use everything at their disposal to deliver both. An area where this is particularly complex is the salaries paid to on-screen and on-air talent. During the course of 2006, press reports about presenters’ salaries aroused industry and public concern and led some people to question the BBC’s approach to the talent it employs. This debate was still live when the Trust was established as the BBC’s governing body in January 2007. It was and has remained a topic raised by the public with Trustees during our appearances on radio phone-ins and at public meetings in all parts of the UK. Against this background the Trust commissioned an independent review, conducted by Oliver and Ohlbaum Associates Ltd (O&O), to provide an in depth examination of the BBC’s use of on air and on screen talent. We posed O&O three specific questions: • How do the size and structure of the BBC's reward packages for talent compare with the rest of the market? • What has been the impact of the BBC's policy on the talent market, particularly in relation to cost inflation? • To what extent do the BBC's policy and processes in relation to investment in, and reward of, talent support value for money? We are publishing O&O’s report which seeks to answer these questions, the BBC management’s response to the points it raises and our own judgements informed by this evidence.
    [Show full text]
  • Download Caprice's Press Book
    Caprice Bourret CAPRICE BOURRET Founder, Designer and CEO of By Caprice Products, Mother, Motivational Business Speaker and Philanthropist n www.capricebourret.com www.GoBycaprice.com Career Highlights Caprice Bourret International Model &Entrepreneur One of the most photographed women in the world ‘300 Magazine Covers across the globe’ Starred in over 150 TV shows and Movies Three years running voted ‘Maxim Magazines Women of the Year’ ‘GQ’s International Woman of the Year’ Best selling calendars 5 years running Playing lead roles in London’s West End ‘The Vagina Monologues’ And ‘Rent’ Produced and Lead Role in hit musical ‘Debbie does Dallas The Musical’ Launched her autography Caprice…My Boys, My Body, My Business Career Highlights Founder and CEO of By Caprice Products Philanthropist Women's Trust – Patron Brain Tumour Research- Patron Tikva - Patron Jewish Care - Patron Princes Trust - Ambassador Childlline – Ambassador Drop4Drop – Ambassador Action on Addition – Committee member Mommy to Jax and Jett Bibliography Caprice Bourret is an award-winning model, businesswoman and philanthropist. Having shot to fame in the 1990s, Caprice’s break-through front cover was Vogue Magazine. She is often referred to as ‘one of the most photographed women in the world’ and has appeared on more than 350 magazine covers across the globe and over 150 TV shows and films. From her humble beginnings in Southern California, Caprice settled in England in her early 20’s and is now a true adopted Brit. Caprice has been voted GQ Magazine’s Woman of the Year and Maxim’s International Woman of the Year for three years running.
    [Show full text]
  • Mark Summers Sunblock Sunburst Sundance
    Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red Total Hits : 1 Total Weeks : 11 indicates a Number 1, a line in blue indicate a Top 10 hit. SUNFREAKZ Belgian male producer (Tim Janssens) MARK SUMMERS 28 Jul 07 Counting Down The Days (Sunfreakz featuring Andrea Britton) 37 3 British male producer and record label executive. Formerly half of JT Playaz, he also had a hit a Souvlaki and recorded under numerous other pseudonyms Total Hits : 1 Total Weeks : 3 26 Jan 91 Summers Magic 27 6 SUNKIDS FEATURING CHANCE 15 Feb 97 Inferno (Souvlaki) 24 3 13 Nov 99 Rescue Me 50 2 08 Aug 98 My Time (Souvlaki) 63 1 Total Hits : 1 Total Weeks : 2 Total Hits : 3 Total Weeks : 10 SUNNY SUNBLOCK 30 Mar 74 Doctor's Orders 7 10 21 Jan 06 I'll Be Ready 4 11 Total Hits : 1 Total Weeks : 10 20 May 06 The First Time (Sunblock featuring Robin Beck) 9 9 28 Apr 07 Baby Baby (Sunblock featuring Sandy) 16 6 SUNSCREEM Total Hits : 3 Total Weeks : 26 29 Feb 92 Pressure 60 2 18 Jul 92 Love U More 23 6 SUNBURST See Matt Darey 17 Oct 92 Perfect Motion 18 5 09 Jan 93 Broken English 13 5 SUNDANCE 27 Mar 93 Pressure US 19 5 08 Nov 97 Sundance 33 2 A remake of "Pressure" 10 Jan 98 Welcome To The Future (Shimmon & Woolfson) 69 1 02 Sep 95 When 47 2 03 Oct 98 Sundance '98 37 2 18 Nov 95 Exodus 40 2 27 Feb 99 The Living Dream 56 1 20 Jan 96 White Skies 25 3 05 Feb 00 Won't Let This Feeling Go 40 2 23 Mar 96 Secrets 36 2 Total Hits : 5 Total Weeks : 8 06 Sep 97 Catch Me (I'm Falling) 55 1 20 Oct 01 Pleaase Save Me (Sunscreem
    [Show full text]
  • Broadcast Bulletin Issue Number 64
    Ofcom broadcast bulletin Issue number 64 10 July 2006 Ofcom broadcast bulletin 64 10 July 2006 Contents Introduction 3 Standards cases In Breach 4 Resolved 7 Fairness & Privacy cases Not Upheld 11 Other programmes not in breach/outside remit 21 2 Ofcom broadcast bulletin 64 10 July 2006 Introduction Ofcom’s Broadcasting Code took effect on 25 July 2005 (with the exception of Rule 10.17 which came into effect on 1 July 2005). This Code is used to assess the compliance of all programmes broadcast on or after 25 July 2005. The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ The Rules on the Amount and Distribution of Advertising (RADA) apply to advertising issues within Ofcom’s remit from 25 July 2005. The Rules can be found at http://www.ofcom.org.uk/tv/ifi/codes/advertising/#content The Communications Act 2003 allowed for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. While Ofcom has now published its Broadcasting Code, the following legacy Codes apply to content broadcast before 25 July 2005. • Advertising and Sponsorship Code (Radio Authority) • News & Current Affairs Code and Programme Code (Radio Authority) • Code on Standards (Broadcasting Standards Commission) • Code on Fairness and Privacy (Broadcasting Standards Commission) • Programme Code (Independent Television Commission) • Programme Sponsorship Code (Independent Television Commission) • Rules on the Amount and Distribution of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of statutory sanctions by Ofcom).
    [Show full text]
  • Universidade Federal Do Rio De Janeiro Escola De Comunicação Centro De Filosofia E Ciências Humanas Jornalismo
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS JORNALISMO CULTURA DO HYPE: COMO MOVIMENTOS MUSICAIS EFÊMEROS DA DÉCADA DE 2000 CRIARAM NOVOS ÍCONES NA CULTURA POP TÚLIO BRASIL VILELLA RIO DE JANEIRO 2014 III UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS JORNALISMO CULTURA DO HYPE: COMO MOVIMENTOS MUSICAIS EFÊMEROS DA DÉCADA DE 2000 CRIARAM NOVOS ÍCONES NA CULTURA POP Monografia submetida à Banca de Graduação como requisito para obtenção do diploma de Comunicação Social/ Jornalismo. TÚLIO BRASIL VILELLA Orientadora: Profa. Dra. Rose Marie Santini RIO DE JANEIRO IV 2014 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO TERMO DE APROVAÇÃO A Comissão Examinadora, abaixo assinada, avalia a Monografia Cultura do Hype: Como Movimentos Musicais Efêmeros da Década De 2000 Criaram Novos Ícones na Cultura Pop, elaborada por Túlio Brasil Vilella. Monografia examinada: Rio de Janeiro, no dia ........./........./.......... Comissão Examinadora: Orientadora: Profa. Dra. Rose Marie Santini Doutora em Ciência da Informação – UFF/IBICT Departamento de Comunicação - UFRJ Prof. Marcio Tavares d`Amaral Doutor em Letras (Ciências da Literatura) pela – UFRJ Departamento de Comunicação -. UFRJ Prof. Paulo Guilherme Domenech Oneto Doutor em Filosofia - Université de Nice Departamento de Comunicação – UFRJ RIO DE JANEIRO V 2014 FICHA CATALOGRÁFICA BRASIL, Túlio. Cultura do Hype: Como movimentos musicais efêmeros da década de 2000 criaram novos ícones na cultura pop. Rio de Janeiro, 2014. Monografia (Graduação em Comunicação Social/ Jornalismo) – Universidade Federal do Rio de Janeiro – UFRJ, Escola de Comunicação – ECO. Orientadora: Rose Marie Santini VI As pessoas vão se esquecendo.
    [Show full text]
  • Projecting the Nation: Constructions of Scotland in Film Since 1979
    Projecting the Nation: Constructions of Scotland in Film Since 1979 Emily Torricelli PhD University of York Theatre, Film and Television January 2016 Abstract This thesis examines questions of the continued significance of national cinemas and identities, focussing on the case of Scottish cinema. As a small, devolved nation with relative autonomy from the United Kingdom, Scotland presents an interesting case for how films are labelled with a national identity, as Scottish films can also often be understood in a British, European, and even global context. Rather than attempting to construct a working model of Scottish cinema based on representation or production context, I ask how films have been constructed as Scottish. I approach the concepts of Scotland and Scottish film as sets of meanings that are subject to change over time and in different contexts. This facilitates a perspective which asks in what ways Scotland and Scottishness is constructed in film. I examine how multiple identities are balanced in the filmic construction of Scotland first by considering how Scottish films—both those made in and which are about Scotland—from the early 1980s to the present construct Scottish identities. I will consider the way these films explored ‘traditional’ Scottish identities in the 1980s, Scottish masculinity in the 1990s, and Scottish identities based on ethnicity and gender in the 2000s and 2010s. Second, I look at how these films are received as Scottish by examining reviews and other press materials to determine how the Scottishness
    [Show full text]
  • The Film Industry in the Russian Federation
    THE FILM INDUSTRY IN THE RUSSIAN FEDERATION November 2012 Set up in December 1992, the European Audiovisual Observatory’s mission is to gather and diffuse information on the audiovisual industry in Europe. The Observatory is a Euro pean public service body comprised of 39 member states and the European Union, represented by the European Commission. It operates within the legal framework of the Council of Europe and works alongside a number of partner and professional organisations from within the industry and with a network of correspondents. In addition to contributions to conferences, other major activities are the publication of a Yearbook, newsletters and reports, and the provision of information through the Observatory’s Internet site (http://www.obs.coe.int). The Observatory also makes available four free‑access databases, including LUMIERE on admissions to films released in Europe (http://lumiere.obs.coe.int) and KORDA on public support for film and audiovisual works in Europe (http://korda.obs.coe.int). Nevafilm was founded in 1992 and has a wide range of experience in the film industry. The group has modern sound and dubbing studios in Moscow and St. NEVAFILM Petersburg (Nevafilm Studios); is aleader on the Russian market in cinema design, film and digital cinema equipment supply and installation (Nevafilm Cinemas); became Russia’s first digital cinema laboratory for digital mastering and comprehensive DCP creation (Nevafilm Digital); distributes alternative A REPORT FOR THE content for digital screens (Nevafilm Emotion); has undertaken independent monitoring of the Russian cinema market in the cinema exhibition domain since EUROPEAN AUDIOVISUAL OBSERVATORY 2003, and is a regular partner of international research organizations providing data on the development of the Russian cinema market (Nevafilm Research).
    [Show full text]