DailyMotion, the popular video-hosting site, was sued by Pyatnitsa TV channel, a subsidiary of Gazprom Media. The suit charged that DailyMotion provided access to proprietary content from popular Russian TV shows without the owner’s consent. Last year “Pyatnitsa continuously tried to reach the DailyMotion administration via all possible means — contacting the company’s headquarters and getting in touch with their country manager,” said Gazprom Media’s press office. After “a number of attempts,” Pyatnitsa filed its first suit last May. This action was related to videos from the Magazzino shows, which DailyMotion deleted after the court ruling. Another dispute began in August, when Pyatnitsa noticed episodes of its new show, Patsanki, on the video-sharing platform. “Again, the channel used all possible means to contact DailyMotion, but never received any response,” Gazprom Media told EWDN. On Dec. 2, based on these charges, a Moscow court ordered that access to Daily Motion be blocked in Russia. DailyMotion told Vedomosti that the company never received any claims from Gazprom Media and plans to appeal. The Russian copyright battlefield “Like our Russian and foreign colleagues, we are protecting the rights related to our TV shows using available legal means,” said Gazprom Media. Russia blocks LinkedIn: A welcome warning for global players? The company pointed out that in 2015 another of its subsidiaries, TNT, reached an amicable resolution in a dispute with YouTube. The case was related to TNT’s shows, Fizruk, and Chernobyl, which had been displayed on the international video platform. “YouTube provided TNT with the necessary technical means to identify and withdraw the videos that involved copyright infringements,” said Gazprom Media. Russia strengthened its anti-piracy legislation in 2013. In July last year, Roskomnadzor reached an agreement with the Motion Picture Association of America regarding copyrights and their protection. Earlier this month the Russian regulator blocked access to Kinogb.net following a legal claim of copyright infringement brought by Warner Bros. Entertainment Inc. Recently Rokomnadzor also blocked access to LinkedIn, but for entirely different reasons. The U.S. professional social network had not complied with Russia’s legislation on personal data, which requires that Russian user data be stored on servers that are physically located on Russian territory. First published by East-West Digital News Read more: Everything you wanted to know about Russian hackers, but were afraid to ask
FedEx (FDX) reported earnings a month ago. What's next for the stock? We take a look at earnings estimates for some clues.
By Julie Detraglia, Head of Advertising Sales Research, Hulu With the advertising industry in a state of perennial disruption and viewers experiencing content on more screens than ever before, it’s time that advertisers rethink the age-old 15- and 30-second spots. Traditional television businesses have taken up that banner: NBC ran live commercials during its Hairspray broadcast. Turner is running half the commercials in originals on TNT in 2017. But that’s only part of the story. Here are the three things that marketers need to know in 2017: 1. Viewers are Receptive to Ads Consumers have multiple options for ad avoidance: ad blocking, fast-forwarding or paying premiums for ad-free services. But the reality is that the majority of consumers are, in fact, receptive to ads. According to research from Hulu, 93% of consumers have some level of receptivity to ads, with 35% saying they are highly receptive. And each week, the majority of new Hulu subscribers choose the ad-supported model – viewers are self-selecting into a brand-sponsored TV experience. 2. Receptivity Is Related to Content and Choice We’ve all heard (and used) the phrase “content is king” a million times, but it is a virtually indisputable fact that there is no content on earth more engaging than premium long-form television. On-demand, purposeful viewing has a positive impact on ads: when viewers are watching a favorite show their likelihood to view commercials increases by 21%, and by 46% for their #1 favorite. 3. We Need to Customize to Optimize Viewers tell us that they prefer ads that are informative, relevant, and tailored to the environment in which they view them. The marriage of ad and program becomes most powerful when creative messages are customized for the platform, as Hulu discovered when we tested sequential ad messaging: creative units that tell a story over the course of the program. Uniting commercial storytelling with content storytelling drives engagement and effectiveness, and decreases annoyance. While the media landscape, and along with it consumer expectation, has transformed, commercially supported media is nowhere near dead. Consumers have a desire and a need to be informed about the products and services that are relevant to their lives. In order to effectively engage consumers, we must usher in a new era of innovation and creativity, reimagining the 15-and 30-second spots in advertiser-supported television. -- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
AT&T Inc.'s (T) management expects the Time Warner Inc. (TWX) deal to be accretive to both adjusted earnings and free cash flow, in the first year post closure.
Попытки таможни сделать доставку товаров из зарубежных интернет-магазинов прозрачной приводит к остановке этой интернет-торговли
President-elect Donald Trump remains against the AT&T-Time Warner Deal.
From the overlooked lyrical brilliance of Bon Scott, via riffs that defined rock, to the triumphant comeback with Brian Johnson, here are 10 AC/DC classicsThough the Young brothers, Angus and Malcolm, had formed AC/DC in 1973, their story really begins with the arrival of Bon Scott in September 1974. Scott was a veteran of the Australian rock scene – he’d sung with the Spektors, the Valentines and Fraternity without ever reaching any level of real success. He’d also worked in a fertiliser plant, and in May 1974 had a motorcycle accident – riding drunk after a row – that left him in a coma for three days. So, 28 years old by the time he joined AC/DC, he was well acquainted with the vicissitudes of life, and quite how long the way to the top was if you wanted to rock’n’roll. The anger at spending years on the fringes and the joy at getting another shot burst through in his lyrics in the early AC/DC records. The group’s first Australian album, High Voltage, came out in February 1975, but their second, TNT (released in December of the same year) was where Scott really found his voice. It opened with It’s a Long Way to the Top (If You Wanna Rock’n’Roll) and Rock’n’Roll Singer, which were pretty much Scott’s manifestoes of the rock’n’roll life – grubby, dirty, venal, but a whole lot better than the alternative. “Well you can stick your nine-to-five living / And your collar and your tie / And you can stick your moral standards / ’Cos it’s all a dirty lie,” he sings on Rock’n’Roll Singer, those last two words given an almost camp inflection. (It’s often overlooked that Scott was, at his best, an excellent lyric writer, and – just as important – brilliant at phrasing in his delivery.) And, in one of the all time great asides in rock, he comes off the second chorus of “Gonna be a rock’n’roll singer / Gonna be a rock’n’roll star” with the perfect justification for his ambition: “I hear it pays well!” Continue reading...