27 November 2020 07:32

MediAvataar's News Desk

MediAvataar's News Desk

Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

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”

–Jean-Luc Godard

“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.”

–James Joyce

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.


UFC® and ESPN+ announced that The Ultimate Fighter, the longstanding reality television series will return in March 2021, exclusively on ESPN+.

The Ultimate Fighter 29 (TUF 29) will feature athletes from the men’s bantamweight (135 lbs.) and middleweight (185 lbs.) divisions. Casting is open through Friday, Nov. 13 with applications available for download at ufc.com/TUF. Team coaches for TUF 29 will be announced at a later date.

The iconic reality series has introduced a wide array of fans – from die-hard to brand new – to UFC and served as a springboard for the career of numerous fighters who went on to be UFC champions, contenders and stars, including: Kamaru Usman, Tony Ferguson, T.J. Dillashaw, Rose Namajunas, Michael Bisping, Nate Diaz, Michael Chiesa, Al Iaquinta, Kelvin Gastelum, Forrest Griffin, Rashad Evans, Uriah Hall and Conor McGregor, who was a coach in TUF 22.

In addition to TUF 29, ESPN+ will also be a new destination for fans to re-watch all 28 previous seasons of TUF, available on a date to be announced soon.

Casting for TUF 29 will be remote for the first time with no physical tryouts. Finalists will be selected by late November 2020.

WHO: Male bantamweight (135 lb.) and middleweight (185 lb.) athletes

WHEN: Now through Friday, Nov. 13

WHERE: Remote Casting Only. Application Available at ufc.com/TUF

TUF joins a lineup of original and on-demand content on ESPN+ that includes: Dana White’s Contender Series, the four-part documentary UFC Fight Island Declassified, Ariel & The Bad Guy, Detail: Daniel Cormier, UFC Destined, UFC Unlocking Victory, UFC Embedded, UFC Reloaded, UFC Top 10, and a library of recent events, great title fights and classic UFC.

Pine Labs, one of Asia’s leading merchant commerce platforms today announced the coming on board of Silicon Valley product leader and former executive member of Square, Gokul Rajaram as an advisor.

With over two decades of experience in product development and management, Gokul Rajaram has worked for companies like Square, Facebook, and Google. He currently serves on the board of Coinbase, Pinterest, The Trade Desk, in addition to being on the executive team at DoorDash since November 2019. Prior to DoorDash, he worked as the Product Engineering Lead at Square from 2013 – 2019. From 2010 to 2013 Rajaram served as Product Director of Ads at Facebook, where he helped the company transition its advertising business to become mobile-first. During his initial career, he worked with Google on their Google AdSense program as a Product Management Director. Gokul Rajaram also serves as a Chairman of the Board at the Course Hero, a leading EdTech platform in the United States.

Commenting on Rajaram’s appointment, B Amrish Rau, CEO, Pine Labs, said, “It’s very exciting to have Gokul agree to extend his product expertise and support to us as we look to scale Pine Labs across the Asian markets. Gokul has been a friend and an informal advisor to me personally for quite some time now. His product experience will be invaluable around some of our exciting offerings like Pay Later, QR, and Loyalty.”

Rajaram holds a bachelor’s degree in Computer Science Engineering from the Indian Institute of Technology, Kanpur, where he was awarded the President of India's Gold Medal for being class valedictorian. He also holds an M.B.A. from MIT and a Master of Computer Science from the University of Texas at Austin.

Gokul Rajaram, Advisor, Pine Labs, said, “Indian payments is undergoing change, and this will have tremendous impact on how small merchants conduct their business. I am excited to help and guide Pine Labs as they go about their plans for merchant financial services and digitisation.”

Page 12 of 1226


We use cookies to improve our website. By continuing to use this website, you are giving consent to cookies being used. More details…