MediAvataar's News Desk
L’Oréal has decided to change the geographical scope of some of its Zones following the departure of Jochen ZAUMSEIL, President of the APAC Zone, who has expressed the wish to retire on 1st January 2021.
In order to give greater coherence to each Zone, particularly in terms of consumer behaviour and market maturity, to create the conditions for the transversal transformation of the organisation, and to maximise growth, the following decisions have been taken:
The North Asia Zone will regroup Mainland China, Hong Kong, Taiwan, Japan and South Korea. The Zone will be led by Fabrice MEGARBANE, in addition to his current duties as CEO of L’Oréal China and member of the Executive Committee.
South Asia and the Middle East/North Africa Zone will be joined to create the SAPMENA Zone (South Asia Pacific – Middle East – North Africa). This important new Zone will be entrusted to Vismay SHARMA, who will join L’Oréal’s Executive Committee. An Indian national, Vismay joined the Group in India in 1994, where he has led both the Consumer Products and Professional Products Divisions. In 2012 he was appointed CEO for L’Oréal Indonesia. Since 2016 he has been CEO for L’Oréal in the UK and Ireland.
A new Sub-Saharan Africa Zone will be entrusted to Burkhard PIEROTH. Of German nationality, Burkhard joined L’Oréal in 2017 after a previous experience with Procter & Gamble. His first mission was the transformation of the haircare business for the Consumer Products Division. Since 2018 he has been General Manager for Emerging Markets, also for the Consumer Products Division.
In addition, in order to animate this new organization, enable transversal synergies and strategise global growth, the Group has decided to create the role of Chief Global Growth Officer, to which all Zone Presidents as well as the Travel Retail business will report. This position will be entrusted to Frédéric ROZE, currently President of the Americas Zone and member of the Executive Committee.
Nicolas Hieronimus noted: “This new organization will give us more agility and the leverage to accelerate our growth, particularly in new areas of high potential.”
Commenting on these changes, Jean-Paul Agon said: "First of all, I would like to pay tribute to Jochen Zaumseil's remarkable record during his 37-year career at L'Oréal. In particular, he has done tremendous work leading the APAC Zone, which has grown by 70% over the last 4 years. I would like to thank him warmly and wish him the best for this new step of his life.
This new organization will allow us to respond even better to the diversity of our consumers and their expectations, by providing them with products and services adapted to their local realities, wherever they are. More than ever, the Group is pursuing its goal of Creating Beauty that moves the world.”
These appointments will take effect progressively from 1st January 2021.
It is a well-understood dynamic that younger consumers are more frequently earlier adopters of new products and services.
The subscription online video world is certainly no exception, and the most rapid uptake of the category of products including Netflix, Disney+, Amazon Prime Video and Apple TV+, has—to date—been among the 18-24 and 25-34 year old age brackets.
In the UK and US, the typical 18-24 year old now believes they spend an average of over 1 hour 40 minutes each day watching videos via subscription video-on-demand services. And the 25-34 year old group shows similar behaviour. By contrast, the older age brackets consume much less content via video-on-demand. 55-64 year olds in the USA believe they spend roughly 40 minutes each day watching subscription online video, while their UK counterparts spend just 20 minutes.
Given the extensive period of time over which online video products have been available in each market, one might conclude that older consumers will remain loyal broadcast viewers (and subscription online video products will stay a minority contributor to their viewing patterns) for some time. However, the pace of change of viewing behaviours has been rapid over the last year. The average UK and US 55-64 year old's subscription OTT viewing increased by over 50% between Q3 2019 and Q3 2020.
Perhaps most importantly, the data indicates that each age group now lags the next by just one year. The average 55-64 year old's daily subscription video-on-demand viewing now matches that of the average 45-54 year old's viewing in the prior year—roughly 20 minutes in the UK and 40 minutes in the USA. Similarly, the average 45-54 year old is currently watching the same volume of subscription video-on-demand as their 35-44 year-old counterparts watched on a typical day in Q3 2019.
At face value, this trend would imply that by 2025, 55-64 year olds will be watching as much subscription video-on-demand as 18-24 year olds do now. But to assume this would likely be premature. 2020 has been a unique year, and demand for entertainment content during lockdown has temporarily accelerated some of the underlying sectoral and behavioural changes. Nonetheless, the speed of the viewing shifts which have occurred during the last 12 months indicates that under the right conditions and with the right incentives, video consumption behaviours can change very rapidly indeed.
Source: Ampere Analysis
A new report published today by leading industry analyst & advisory group Media Partners Asia (MPA) estimates that Australia’s online video industry will generate an estimated US$2.9 billion in revenue in 2020, including advertising & subscription revenue.
Over the next five years, MPA expects the online video sector to grow at 13% CAGR to reach US$5.3 billion.
According to MPA, YouTube, Netflix, Disney+ and Amazon Prime Video will have an estimated 65% share of total revenues in 2020. The most significant local player is Nine Entertainment, which owns and operates two OTT platforms – 9Now (AVOD) and Stan (SVOD) which are expected to have ~9% of total online video revenues in 2020.
SVOD continues to grow rapidly, with revenues climbing an estimated 32% in 2020 to US$1.4 billion. By year-end 2020, Netflix will continue to lead the market with 6.1 million subs and ~US$710 million in revenues, driven by the popularity of its movies, series, kids and documentaries. Nine’s Stan is the second largest player with 2.3 mil. subs while Disney+ and Amazon Prime Video come third with 1.8 million subs each. Another key player is Foxtel with 1.4 million OTT subs through its sports (Kayo) and entertainment (Binge and Foxtel Now) platforms. MPA projects the SVOD market to reach US$2.9 billion by 2025, a 15% CAGR from 2020.
Commenting on the findings of the report, MPA executive director Vivek Couto said:
“Australia’s online video sector is larger than either the free and pay-TV sectors, driven by the increasing availability and scaled consumption of premium entertainment and sports. Global media platforms have also grown with relative ease in the English-speaking market. We expect subscriber growth to decelerate in the future as the SVOD market is maturing though pricing power will increase as Netflix and Stan see more subscribers moving up to higher priced tier and Disney+ launches a new service under the Star brand. New market entrants include the Viacom CBS-owned Paramount+, which is expected to launch in 1H 2021, and longer-term potentially Peacock, the freemium service operated by NBCUniversal.”
Online video will account for 23% of total digital ad spend in 2020. YouTube dominates with more than 60% of total AVOD revenues. BVOD platforms, comprised of 9Now, 7plus, 10play and SBS On Demand, will close 2020 with a 11% share of AVOD revenues. Online video advertising is expected to expand at a CAGR of 11% over 2020-25 to reach US$2.4 billion by 2025.
The report is part of MPA’s Asia Pacific Online Video & Broadband Distribution series which provides detailed analysis of Subscribers, Revenues, Distribution Partnerships, Content Investment & Regulatory Dynamics in 14 markets across Asia Pacific.
Based on the book by best-selling author Robert Harris
Based on the international bestseller by Robert Harris. It is Autumn 1938 and Europe stands on the brink of war. Adolf Hitler is preparing to invade Czechoslovakia and Neville Chamberlain's government desperately seeks a peaceful solution. With the pressure building, Hugh Legat, British civil servant, and Paul von Hartmann, German diplomat, travel to Munich for the emergency Conference. As negotiations begin, the two old friends find themselves at the centre of a web of political subterfuge and very real danger. With the whole world watching, can war be averted and, if so, at what cost?
The film is now filming in Germany and will shoot in the UK. Netflix will release the film in 2021.
Robert Harris added: "It's great to see an actor of Jeremy Irons's stature playing Neville Chamberlain. This will be the first time a major movie has gone beyond the cult of Winston Churchill and tried to show Chamberlain in a more sympathetic light."
Director: Christian Schwochow (The Crown, Bad Banks)
Writers: Ben Power (The Lehman Trilogy, The Hollow Crown)
Producer: Andrew Eaton (The Crown), Turbine Studios
Cast: Jeremy Irons (Neville Chamberlain), George MacKay (Hugh Legat), Jannis Niehwöhner (Paul Hartman), Sandra Hüller (Helen Winter), Liv Lisa Fries (Lenya), August Diehl, (Franz Sauer), Erin Doherty (Pamela Legat), Martin Wuttke (Adolf Hitler)
A video essay that explores Irish political struggles through a rich and varied cinematic history.
“The history of cinema appears to be easy to do, since it is after all made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened. In “normal” history, one can’t project, because it’s not projectable; one has to codify in one form or another, write, make manuscripts; whereas here it would seem that all one has to do is reproduce”
“I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.”
The legacy of colonization still lingers over the economic, geographical, and political relationship between Ireland and the United Kingdom, yet the colonial crimes committed by the Empire on Irish soil remain largely undigested. The details of the Great Famine and the atrocities committed by the Black and Tan soldiers are unlikely to be found on any school curriculum in the UK, and, despite repeated calls from residents of Northern Ireland, a truth recovery process to uncover the role that the British government played in the Troubles has been repeatedly stalled by Westminster. If the representation of Irish identity on screen remains largely dominated by British cultural forces, The Rising of the Moon draws on a rich repository of indigenous counter-images to challenge simplistic portrayals that tend towards either sentimentalization or vilification.
Growing out of an era of immense technological and political transformation, the silent Irish cinema of the early 20th century defined itself through its revolutionary vigor, its engagement with national identity, and its distinction from Englishness. The first wave of revolutionary cinema produced in the years that preceded signing of the Anglo-Irish treaty, films such as Rory O’More (1911), For Ireland’s Sake (1914) and Knocknagow (1918), sought to contextualize the contemporaneous political upheaval within a grand lineage of Irish resistance. The archetype of the martyred revolutionary was a particularly prominent one, a figure whose refusal to passively accept injustice would typically result in them being brutally suppressed by the British authorities. Using stories of past insurgences as allegories for current political battles was an artistic strategy bound to a Republican movement that sought to mobilize the public by establishing a continuity between contemporary hardship and centuries of oppression inflicted by colonial rule.
The signing of the Anglo-Irish Treaty in December 1921 brought an end to the War of Independence and acknowledged the existence of the Irish Free State but, rather than ensuring peace and prosperity, marked the beginning of further division. The Treaty, devised by the British government led by Prime Minister David Lloyd George, determined that the South would become a 26 County Free State with dominion status, while the 6 counties of the North would remain under British rule. Although the Treaty narrowly passed through Irish parliament, the legitimacy of the vote was contested due to the threat of further, more aggressive British military action being implemented in the country if the terms were not agreed to. Hostilities between those who supported the Treaty and those who opposed it erupted into a civil war that lasted until a ceasefire was negotiated in May 1923. The issues of independence and partition remained contentious, however. Instability in Northern Ireland erupted into armed warfare in the late 1960s, with the 50th anniversary of the 1916 Rising serving as the catalyst for widespread reflection regarding the legacy of the War of Independence and the possibility of re-unification. The decades of violence which followed were memorably captured in features including: Alan Clarke’s Contact (1985), an unflinching portrayal of the brutality inflicted on civilians in Northern Ireland by British paramilitaries; Elephant (1989), an attack on the failure of the British government to acknowledge the horrific effects of partition and the decades of conflict that it spawned; and Marcel Ophüls’ A Sense of Loss (1972), an invaluable document of the suffering experienced during the period that granted a voice to pro-Republican politicians and academics whose views would not be broadcast on mainstream television. Although the Good Friday Agreement heralded a substantial step towards harmony, it would be naïve to believe that the permanent stability has been established in the region. Elements of cultural segregation remain, the scars of the past still haunts communities, and many victims of violence have yet to receive closure. With Britain’s exit from the European Union on the horizon and the implementation of a hard border between Ireland and Northern Ireland a tangible possibility, tensions within the region are on the rise, and its future seems uncertain.
The Rising of the Moon is an audio-visual exploration of the Irish struggle for independence as it has been mediated through cinematic images. Adopting a method of archaeological montage inspired by the work of Jean-Luc Godard, Harun Farocki, and Chris Marker, it locates rhymes and echoes between audio-visual material accumulated from over a century of Irish filmmaking. Issues of martyrdom, emigration, rural dispossession, social alienation, cultural memory, and economic inequality, rise to the forefront of this excavation as it assembles fragmentary citations into intricate constellations of sound and image. The cinematic representation of four significant periods in the history of Irish independence are reflected upon in particular: the rebellion of 1798, the 1916 Easter Rising, the war of independence, and the Northern Irish Troubles. By locating these associations, The Rising of the Moon constructs a non-linear and interstitial form of historical perception wherein struggles from various eras parallel one another and past events interpenetrate with the present moment. The associative interweaving of audio-visual material launches an investigation into the socio-political development of Ireland, and, reflexively, into the potential for cinema to function as a tool for performing historical thought.