Transcript of Public Meeting to Consider the Trading of Contracts
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June 1St, 2010 Mr. Gary Gensler Chairman Commodity Futures
30 Alice Lane Smithtown, NY 11787 June 1st, 2010 Mr. Gary Gensler Chairman Commodity Futures Trading Commission Three Lafayette Centre 1155 21st Street, NW Washington, DC 20581 Dear Chairman Gensler, My name is Bill Bonfanti and I own and operate a movie based website, FilmGo.net and I fully support the trading of box office futures. Let me give you a little history as to who I am and what I do. I was a stockbroker on the floor of the New York Stock Exchange for 13 years and as such I understand the volatility associated with trading stocks and other financial instruments. I currently serve as box office analyst and film reviewer for the site. One of the main arguments presented by the MPAA in opposition to trading box office receipts is that box office futures would begin to negatively impact the actual box office receipts of their underlying films due to possible negative buzz associated with the price of a contract. This is a complete falsehood and in fact the opposite is true. If anything, a box office futures exchange will increase interest and public appetite for films. If you look at any newsstand, you’ll see that most of the magazines on the rack cater to our obsession with movies, TV and celebrities. There are numerous websites and televisions shows that also cater to this obsession. All of these spread both negative and positive buzz about films from the second a project is announced to the time it is actually playing in theatres nationwide. Critics review films every week and even their esteemed opinions don’t have any overall effect on the box office. -
How the CFTC Is Using Virtual Currencies to Expand Its Jurisdiction
Arkansas Law Review Volume 73 Number 2 Article 1 August 2020 New Things Under the Sun: How the CFTC is Using Virtual Currencies to Expand Its Jurisdiction James Michael Blakemore University of Michigan Law School Follow this and additional works at: https://scholarworks.uark.edu/alr Part of the Banking and Finance Law Commons, Law and Economics Commons, Secured Transactions Commons, and the Securities Law Commons Recommended Citation James M. Blakemore, New Things Under the Sun: How the CFTC is Using Virtual Currencies to Expand Its Jurisdiction, 73 Ark. L. Rev. 205 (2020). Available at: https://scholarworks.uark.edu/alr/vol73/iss2/1 This Article is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Arkansas Law Review by an authorized editor of ScholarWorks@UARK. For more information, please contact [email protected]. NEW THINGS UNDER THE SUN: HOW THE CFTC IS USING VIRTUAL CURRENCIES TO EXPAND ITS JURISDICTION James Michael Blakemore* INTRODUCTION A decade has passed since Bitcoin solved a fundamental problem plaguing virtual currencies:1 How to ensure, without re- sort to financial intermediaries or other trusted central authorities, that a unit of digital currency can be spent only once.2 In that * Partner at Ketsal PLLC. Adjunct Professor, University of Michigan Law School. For thoughtful comments and conversations, I would like to thank Connie Chang, Joshua Garcia, Zachary Fallon, Diego Zambrano, Pandora Chang, participants in the Arkansas Law Review Symposium on the Evolving Regulation of Crypto, and the editors of the Arkansas Law Re- view. The views expressed here are my own and do not necessarily reflect the views of Ketsal. -
Why Hollywood Isn't As Liberal As We Think and Why It Matters
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 Why Hollywood Isn't As Liberal As We Think nda Why It Matters Amanda Daily Claremont McKenna College Recommended Citation Daily, Amanda, "Why Hollywood Isn't As Liberal As We Think nda Why It Matters" (2019). CMC Senior Theses. 2230. https://scholarship.claremont.edu/cmc_theses/2230 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 Claremont McKenna College Why Hollywood Isn’t As Liberal As We Think And Why It Matters Submitted to Professor Jon Shields by Amanda Daily for Senior Thesis Fall 2018 and Spring 2019 April 29, 2019 2 3 Abstract Hollywood has long had a reputation as a liberal institution. Especially in 2019, it is viewed as a highly polarized sector of society sometimes hostile to those on the right side of the aisle. But just because the majority of those who work in Hollywood are liberal, that doesn’t necessarily mean our entertainment follows suit. I argue in my thesis that entertainment in Hollywood is far less partisan than people think it is and moreover, that our entertainment represents plenty of conservative themes and ideas. In doing so, I look at a combination of markets and artistic demands that restrain the politics of those in the entertainment industry and even create space for more conservative productions. Although normally art and markets are thought to be in tension with one another, in this case, they conspire to make our entertainment less one-sided politically. -
A Critical Look at the Film Futures
BACK TO THE FUTURE[S]: A CRITICAL♦ LOOK AT THE FILM FUTURES BAN INTRODUCTION.................................................................................180 I. THE HISTORY OF FILM FUTURES: FROM INCEPTION TO ARMAGEDDON .....................................................................182 II. BACKGROUND AND DEFINITIONS......................................189 A. A Brief History of Futures Trading ................................189 B. Commodity Futures Trading, Generally.........................189 C. Film Futures, Specifically................................................191 D. Who Would Invest in Film Futures?...............................193 III. IRON [B]AN – WHY CONGRESS BANNED FILM FUTURES TRADING ...........................................................195 A. “Motion Picture Box Office Receipts are not a ‘Commodity’” .................................................................196 B. “Speculators will ‘Game’ the Futures Exchange”...........198 C. “Film Futures Trading is Just Legalized Gambling”.......201 D. “Film Futures Resemble the Risky Financial Instruments that Caused the Financial Crisis” .............202 IV. TO KILL A MOCKINGBIRD–WHY FILM FUTURES TRADING WOULD HELP, NOT HARM, THE MOTION PICTURE INDUSTRY...........................................................204 A. The CFTC’s Authority and the Significance of its Authorization of Film Futures Trading ........................204 1. The CFTC’s Authority...............................................204 2. The Failure of Congress’s Ban on the Trading of Onion -
American Blockbuster Movies, Technology, and Wonder
MOVIES, TECHNOLOGY, AND WONDER MOVIES, TECHNOLOGY, charles r. acland AMERICAN BLOCKBUSTER SIGN, STORAGE, TRANSMISSION A series edited by Jonathan Sterne and Lisa Gitelman AMERICAN BLOCKBUSTER MOVIES, TECHNOLOGY, AND WONDER charles r. acland duke university press · Durham and London · 2020 © 2020 duke university press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Matthew Tauch Typeset in Whitman and Helvetica lt Standard by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Acland, Charles R., [date] author. Title: American blockbuster : movies, technology, and wonder / Charles R. Acland. Other titles: Sign, storage, transmission. Description: Durham : Duke University Press, 2020. | Series: Sign, storage, transmission | Includes bibliographical references and index. Identifiers: lccn 2019054728 (print) lccn 2019054729 (ebook) isbn 9781478008576 (hardcover) isbn 9781478009504 (paperback) isbn 9781478012160 (ebook) Subjects: lcsh: Cameron, James, 1954– | Blockbusters (Motion pictures)— United States—History and criticism. | Motion picture industry—United States— History—20th century. | Mass media and culture—United States. Classification:lcc pn1995.9.b598 a25 2020 (print) | lcc pn1995.9.b598 (ebook) | ddc 384/.80973—dc23 lc record available at https://lccn.loc.gov/2019054728 lc ebook record available at https://lccn.loc.gov/2019054729 Cover art: Photo by Rattanachai Singtrangarn / Alamy Stock Photo. FOR AVA, STELLA, AND HAIDEE A technological rationale is the rationale of domination itself. It is the coercive nature of society alienated from itself. Automobiles, bombs, and movies keep the whole thing together. — MAX HORKHEIMER AND THEODOR ADORNO, Dialectic of Enlightenment, 1944/1947 The bud get is the aesthetic. — JAMES SCHAMUS, 1991 (contents) Acknowl edgments ........................................................... -
The Case for Domestic Box Office Receipt Derivatives
Do Not Delete 3/16/2011 5:16 PM The Case for Domestic Box Office Receipt Derivatives Jeremy A. Gogel* INTRODUCTION Derivatives have been given a bad rap over the last two years. Following the sub-prime mortgage crisis and the ensuing economic collapse of 2008, many commentators and political figures targeted derivatives as one of the main causes of the financial crisis.1 Derivatives were immediately branded as “risky,” “complex,” and “impossible to understand,” and were even analogized to gambling.2 Indeed, derivatives are risky instruments if used carelessly, but if used properly, they provide a useful hedging device. These instruments have been traded on- exchange and over-the-counter in the United States for nearly as long as the country has existed, and have traded in other countries for millennia.3 While the basic principles of these contracts have largely remained the same over time, the types of underlying assets, indices, or rates from which derivatives derive their value have expanded. Derivatives were originally used by farmers, processors, and end users of agricultural products to hedge against the risk of abrupt swings in the price of crops, but eventually began to be used to hedge against interest rate swings, credit risk, currency prices, weather changes, and even * Associate at the law firm of Baker, Sterchi, Cowden, and Rice in St. Louis, Missouri. Previously, Mr. Gogel served as a judicial law clerk to the Hon. Philip M. Frazier of the United States District Court for the Southern District of Illinois. Prior to his clerkship, Mr. Gogel interned at the U.S. -
2010 Athens, Greece
Athens Institute for Education and Research ARTS ABSTRACT BOOK 1st Annual International Conference on Fine and Performing Arts 7 – 8 June 2010 Athens, Greece Edited by: Gregory T. Papanikos First Published in Athens, Greece by the Athens Institute for Education and Research ISBN: 978-960-6672-75-0 All rights reserved. No part of this publication may be reproduced, stored, retrieved system, or transmitted, in any form or by any means, without the written permission of the publisher, nor be otherwise circulated in any form of binding or cover. 8 Valaoritou Street Kolonaki, 10671 Athens, Greece www.atiner.gr ©Copyright 2010 by the Athens Institute for Education and Research. The individual essays remain the intellectual properties of the contributors. 2 Τable of Contents Preface Gregory T. Papanikos 1. Space, Frame and Design Thinking Fatos Adiloglu 2. Three Turkish Composers and Paris Education Years Sirin Akbulut 3. Interpicturality Kubilay Aktulum 4. A Suggested Programme for Preparing Teachers of Art at Sultan Qaboos University, Oman M. Al-Amri 5. Practice-Based Research: As an Approach for Seeing and Creating Art: Artist Self-Expression Fakhriya Al-Yahyai 6. Between the Linear and the Lateral: Dance for Animators Margo K. Apostolos 7. The Analysis of the Notion “Freedom” in Fine Arts Academies. Are Fine Arts Academies against the New Enterprises? Firat Arapoglu and Insel Inal 8. SonicFields: An Immersed Sonic Experience Selcuk Artut 9. Art Beyond Vision Isiltan Ataman 10. A Short History of Turkish Sculpture Olcay Ataseven 11. The Screenplay as Research Palimpsest Jools Ayodeji 12. Service-Learning as Strategy in the Study of Aging and Environment: Developing Generations of Evidence-Based Interior Designers Lisa M. -
Sozialismus Naturalis
MASTERARBEIT/MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „The Image of South India in Contemporary Mainstream Hindi Films“ verfasst von / submitted by Angelika Köpf, BA MA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2016 / Vienna 2016 Studienkennzahl lt. Studienblatt / A 066 692 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Kultur und Gesellschaft degree programme as it appears on des neuzeitlichen Südasiens the student record sheet: Betreut von / Supervisor: Prof. Dr. Martin Gaenszle On oath I solemnly declare on oath that I have written the present Master thesis by myself. I have indicated all sources and quotations – which are cited according to the Harvard method – as such in both words and understandings. The work has not been put forward to another examination authority. Vienna, May 2016 Angelika Köpf Acknowledgements This thesis was declared worthy to be financed under the premises of the KWA – “Kurze Wissenschaftliche Arbeiten im Ausland” scholarship by the University of Vienna, Department for International Relations. The scholarship was used for research and conducting interviews in the United Kingdom. I want to thank Univ.-Prof. Dr. Martin Gaenszle and Dr. Alaka Chudal, MA for their guidance and support throughout the years of studying and towards the finishing line of this thesis! Thank you very much, Ass.- Prof. Dr. Sonal Radia-Tyagi, Symbiosis University of Pune, doctoral candidate Omar Ahmed, MS, University of Manchester, Prof. Dr. Stephen Hughes and Prof. Dr. Rachel Dwyer of SOAS University London for taking their time and talking with me about this thesis’ topic! Thank you, Wendy Prohazka and Mag. -
Schulson Autographs Catalog 159
SCHULSON AUTOGRAPHS CATALOG 159 PDF VERSION Abbreviations Schulson Autographs A.L.S. Claudia Strauss Schulson Autograph Letter Signed po box 54, Millburn, NJ 07041 [written and signed by the person described]. (973) 379-3800 [email protected] L.S. [T.L.S.] Letter Signed Guarantee [signed by the person described, but the text or body written by another or typewritten]. All material is guaranteed genuine, and this guarantee to refund the full purchase price is offered without time limit. Any item which is unsatisfactory for any other reason must be returned D.S. Document Signed. within three (3) business days after receipt. Exceptions must be made when placing an order. A.Q.S. Autograph Quotation Signed. Terms Net upon receipt of invoice for those who have A.N.S. established credit with us unless other arrangements Autograph Note Signed. are made at time of order. • New customers who have not established credit with us should supply satisfactory trade references. • Most orders are shipped via registered or insured mail and Measurements that, or any other postage, is additional on all orders. • Checks payable to: Schulson Autographs. We accept Visa, MasterCard and American Express. Vertical measurement given first • Libraries may receive deferred billing upon request. 4to Quarto [approximately 11x8B/c inches]. On the Web 8vo Our website is updated regularly with new material. Octavo [approximately 8x5 inches]. Please visit us at schulsonautographs.com Let us know by email if you prefer to receive our vn.d. No date. catalogs as a pdf instead of the printed version. Email us at: [email protected] n.p. -
Pdf Washington : 2010
HEARING TO REVIEW PROPOSALS TO ESTABLISH EXCHANGES TRADING ‘‘MOVIE FUTURES’’ HEARING BEFORE THE SUBCOMMITTEE ON GENERAL FARM COMMODITIES AND RISK MANAGEMENT OF THE COMMITTEE ON AGRICULTURE HOUSE OF REPRESENTATIVES ONE HUNDRED ELEVENTH CONGRESS SECOND SESSION APRIL 22, 2010 Serial No. 111–49 ( Printed for the use of the Committee on Agriculture agriculture.house.gov U.S. GOVERNMENT PRINTING OFFICE 56–431 PDF WASHINGTON : 2010 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 VerDate 0ct 09 2002 10:49 Aug 26, 2010 Jkt 041481 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 I:\DOCS\111-49\56431.TXT AGR1 PsN: BRIAN COMMITTEE ON AGRICULTURE COLLIN C. PETERSON, Minnesota, Chairman TIM HOLDEN, Pennsylvania, FRANK D. LUCAS, Oklahoma, Ranking Vice Chairman Minority Member MIKE MCINTYRE, North Carolina BOB GOODLATTE, Virginia LEONARD L. BOSWELL, Iowa JERRY MORAN, Kansas JOE BACA, California TIMOTHY V. JOHNSON, Illinois DENNIS A. CARDOZA, California SAM GRAVES, Missouri DAVID SCOTT, Georgia MIKE ROGERS, Alabama JIM MARSHALL, Georgia STEVE KING, Iowa STEPHANIE HERSETH SANDLIN, South RANDY NEUGEBAUER, Texas Dakota K. MICHAEL CONAWAY, Texas HENRY CUELLAR, Texas JEFF FORTENBERRY, Nebraska JIM COSTA, California JEAN SCHMIDT, Ohio BRAD ELLSWORTH, Indiana ADRIAN SMITH, Nebraska TIMOTHY J. WALZ, Minnesota DAVID P. ROE, Tennessee STEVE KAGEN, Wisconsin BLAINE LUETKEMEYER, Missouri KURT SCHRADER, Oregon GLENN THOMPSON, Pennsylvania DEBORAH L. HALVORSON, Illinois BILL CASSIDY, Louisiana KATHLEEN A. DAHLKEMPER, CYNTHIA M. LUMMIS, Wyoming Pennsylvania ——— BOBBY BRIGHT, Alabama BETSY MARKEY, Colorado FRANK KRATOVIL, JR., Maryland MARK H. -
Looper and the Rise of China In
“I’M FROM THE FUTURE. YOU SHOULD GO TO CHINA.” LOOPER AND THE RISE OF CHINA IN AMERICAN SCIENCE-FICTION CINEMA Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in Communication By Robert Gordon Joseph UNIVERSITY OF DAYTON Dayton, Ohio May, 2014 “I’M FROM THE FUTURE. YOU SHOULD GO TO CHINA.” LOOPER AND THE RISE OF CHINA IN AMERICAN SCIENCE-FICTION CINEMA Name: Joseph, Robert Gordon APPROVED BY: ___________________________________ Joseph Valenzano III, Ph.D. Committee Chair Assistant Professor ___________________________________ Jeffrey Griffin, Ph.D. Committee Member Associate Professor ___________________________________ Andrew Slade, Ph.D. Committee Member Associate Professor ii ABSTRACT “I’M FROM THE FUTURE. YOU SHOULD GO TO CHINA.” LOOPER AND THE RISE OF CHINA IN AMERICAN SCIENCE-FICTION CINEMA Name: Joseph, Robert Gordon University of Dayton Advisor: Dr. Joseph Valenzano III The past decade has seen a large number of film co-productions between Hollywood studios and Chinese production companies. These co-productions reflect the continued rise of the Chinese box office, and a desire by Hollywood to cash in on the emerging market. Among these co-productions is Looper, a cinematic collaboration between Tri-Star Pictures and DMG Entertainment. Along with its co-production status, Looper is significant in its unique portrayal of a future featuring a dystopic United States and a prosperous China. Viewing the film as a “representative anecdote,” this thesis argues that Looper represents United States cultural apprehensions towards China. By the circumstances of the film’s production and its on-screen portrayal of the future, the film reflects the distinct American fear in which China is the dominant world economic power. -
Oral Testimony of Robert S. Swagger, Chairman and Chief Executive
Oral Testimony of Robert S. Swagger Chairman and Chief Executive Officer Media Derivatives, Inc. Before the Commodity Futures Trading Commission May 19, 2010 I. Introduction Thank you Chairman Gensler and Commissioners for allowing me to testify today. I am Robert Swagger, Chairman and Chief Executive Officer of Media Derivatives, also known as The Trend Exchange. You have asked me to discuss our application to list futures and options contracts based upon movie box office revenues. I am pleased to offer our views on this important matter. At the outset, I want to thank the Commission for approving our application to operate as a designated contract market. Having worked with Commission staff for more than 11 months and submitting more than 100 documents, we commend the Commission and its staff on their efforts. We believe that the approval was a forceful step in the right direction, and we look forward to the Commission’s approval our of product application on June 7. We believe that our product application represents the very essence of innovation, which the Commission has sought to promote for many years. In my remarks today, I would like to focus chiefly on why our product offers a useful hedging tool for the institutional entertainment industry and debunk the myth that box office futures are tantamount to gambling contracts. II. MDEX’s Proposed Contracts Serve Important Economic Purposes Despite the Objectors’ unsupported statements to the contrary, MDEX believes, based upon its market research, that a demonstrable need for box office futures and options exists. We have had discussions with many segments of the entertainment industry, some of whom are here today, about the economic utility of our products.