The CFTC was originally supposed to deliver a decision on Monday as to whether or not trading futures based on box office performance would be permitted, but the regulatory agency has now granted Trend Exchange a new June 14 deadline. The Cantor Exchange will still receive word on June 28.
Securing approval has been an uphill battle for both companies thanks in no small part to vocal opposition from the MPAA, NATO and various guilds.
Guillermo del Toro has opened up to Lord of the Rings fans about his decision to give up his directorial duties on The Hobbit. Del Toro posted an explanation inside the forums of TheOneRing.net:
"My commitment to the project demanded enormous sacrifices both in personal and professional terms. The consequences of which will ripple for years. I relocated my entire life and family to New Zealand and first came on board in 2008.
So- while the cited delays, contractual complexities or obstacles, cannot be attributed to a single event or entity - you will simply have to believe that they were of sufficient complexity and severity to lead to the current situation," writes del Toro.
Read the full post here.
June 7, 2010 - New York, NY - The Cambodian government has banned the acclaimed documentary Who Killed Chea Vichea?, U.S. director Bradley Cox's film that investigates the mysterious 2004 assassination of Chea Vichea, one of Cambodia's most influential union leader who spent years fighting for increased wages and improved working conditions for the nation's 300,000 garment workers. The movie, which had its European premiere last month at the Cannes Independent Film Festival, has received accolades from festivals around the world and was named one of Amnesty International's Top Ten Movies That Matter.
In May, in honor of International Labor Day, trade unionists attempted to hold the film's Cambodian premiere at the very location where Vichea was murdered, but riot police raided the scene, and dismantled and seized the screens. The Cambodian government, led by Prime Minister Hun Sen, immediately declared the film an illegal import and announced that it intends to prevent any screenings "wherever they are held." Asserts one of the premiere's organizers, "If the authorities acted like this, it means that some officials could have been involved in Chea Vichea's murder."
The making of the film was no easy feat. For much of the past decade, Bradley Cox-an award-winning activist-documentarian who is currently receiving treatment for a gunshot wound in Bangkok where he has been covering the Thai military crackdown-has been living in Southeast Asia, unraveling the mystery behind Vichea's murder and other newsworthy stories. Cox was on the scene with his camera just moments after the fatal shots to Vichea, and conducted his own investigation over the next five years.
In an unprecedented look at the inner workings of one of the world's most corrupt states, Cox's documentary reconstructs a police plot that framed two innocent men who were sentenced to 20 years each. Several of the witnesses who appear in the film have fled the country or gone into hiding for safety reasons. Cox also became persona non grata in Cambodia, eventually having to leave for his own safety. To the surprise of many in the human rights community, the murder case was reopened in late 2008 and the Supreme Court provisionally released the two men on January 1st, 2009.
"Did the courts simply come to their senses and suddenly discover unprecedented independence from the government? Hell no. But the release of Who Killed Chea Vichea? loomed," said Eric Pape, a former Newsweek correspondent who has reported on Cambodia for fifteen years. "Remember, Cambodian police never identified any other suspects. I imagine there's a reason for that."
The Cambodian authorities maintain the right to seize any media "that is produced or imported illegally," and, after the attempted screening of Who Killed Chea Vichea?, Cambodian police repeatedly tried to confiscate the film from union organizers. Organizations in Cambodia regularly screen imported films without direct government approval, from French films at the Centre Culturel Français to popular Hollywood or American independent films at the Foreign Correspondents Club. The authorities denied that their decision had any connection to politics, but there is no other politically charged film that has been banned in Cambodia since the 1980's.
Cambodia is a major recipient of foreign aid from Western countries including the United States, the UK, France and Australia. Its constitution was written with the help of foreign donors and guarantees "freedom of expression, press, publication and assembly."
"This is what governments do when they don't want their own people to know the facts and when they can't afford to show weakness, even for an instant," said Rich Garella, one of the film's producers, and a former managing editor of The Cambodia Daily.
"I would encourage Cambodian government officials to practice what they preach," said Cox. The government's action, he added, is "the very stuff of dictatorships."
Who Killed Chea Vichea? is a co-production of Loud Mouth Films Limited and the Independent Television Service (ITVS), with funding provided by the Corporation for Public Broadcasting (CPB).
NEW YORK - The Cinema Advertising Council (CAC), a national non-profit trade association which serves cinema advertising sellers, the theatrical exhibition community and the advertising community, today unveiled its new report on cinema advertising revenues. According to the association's report, total cinema advertising industry revenues of CAC members - which account for more than 82 percent of U.S. movie screens - grew by nearly 2 percent to $584,067,000 in 2009, as compared to a total of $571,421,000 in 2008. The announcement of the report - which was independently tabulated by Miller, Kaplan, Arase & Co. LLP - was made today by Michael Chico, president and chairman of the CAC.
Cinema advertising grew despite a year that saw spending in other traditional media decrease significantly. For 2009 regional and national cinema advertising sales were up 5.4 percent compared with the previous year, accounting for 79.4 percent of the industry (regional and national sales accounted for 76.8 percent of total cinema advertising spending in 2008). Meanwhile, local cinema advertising sales were down 9.6 percent year over year, accounting for 20.6 percent of the total cinema advertising market (compared with 23.3 percent in 2008), while other independent forecasts showed that the majority of non-cinema media categories were off 20 percent or more last year.
Mr. Chico stated, "Cinema advertising, in what was one of the most challenging years for media sales during the last few decades, continued to grow in a meaningful way. That growth is continuing in 2010, as cinema has already experienced double digit increases across the board.
Our sector's vitality remains very strong and major brands that have utilized cinema remain loyal to the category based on the return on investment we provide." He added, "New advertisers and new, emerging advertiser categories made cinema part of their spend in 2009 even though it would have been very easy for buyers and planners to have stayed the course during such a difficult year."
The CAC report includes revenue data for both on-screen cinema advertising - including commercials airing in advance of movie previews and the feature presentation - as well as off-screen revenues - including those delivered by digital video and audio programming, sampling, special events, concession-based promotions and lobby-based promotions. On-screen revenues accounted for over 93 percent of total cinema advertising revenues and were up 2.1 percent year over year, while off-screen revenue was flat.
Top national cinema advertising categories in 2009 included Apparel, Auto, Entertainment, Retail, Consumer Packaged Goods, Travel and Wireless. Additionally, growth in 2009 was attributable to increasing activity across a broad spectrum of emerging categories, from Cable Television Networks, Cosmetics, Financial and the Military.