text:
Q: EXC_BAD_ACCESS- crashes when going back on navigation controller So I'm stumped trying to find out why my program is crashing. So far, I have a home screen, which goes to a UITabBar with two tabs and each have UITableViews. On the second tab, I have a custom cell, and if the user clicks on it, the cell is supposed to give more details. All of this is in a UINavigationController. When I'm in the view controller with the table cell details, press back, and press back again (I should be on the home screen), the program crashes with a EXC_BAD_ACCESS (code = 1) here:
int main(int argc, char * argv[])
{
  @autoreleasepool {
      return UIApplicationMain(argc, argv, nil, NSStringFromClass([RaceMeAppDelegate class])); //EXC_BAD_ACCESS      }
}

From looking at other posts, I tried using the zombies instrument in Xcode to figure out where the problem was. I ran it, and it said "an objective-c message was sent to a deallocated "MatchCellDetailsViewController" object (zombie) at address 0x16f19370. The log looked like this:
#   Event Type  ∆ RefCt RefCt   Timestamp   Responsible Library Responsible Caller
0   Malloc  +1  1   00:14.422.351   UIKit   -[UIClassSwapper initWithCoder:]
1   Retain  +1  2   00:14.430.802   UIKit   UINibDecoderDecodeObjectForValue
2   Retain  +1  3   00:14.431.402   UIKit   -[UIRuntimeConnection initWithCoder:]
3   Retain  +1  4   00:14.431.488   UIKit   -[UIRuntimeConnection initWithCoder:]
4   Retain  +1  5   00:14.431.977   UIKit   UINibDecoderDecodeObjectForValue
5   Retain  +1  6   00:14.432.136   UIKit   UINibDecoderDecodeObjectForValue
6   Retain  +1  7   00:14.432.310   Foundation  -[NSObject(NSKeyValueCoding) setValue:forKeyPath:]
7   Retain  +1  8   00:14.432.639   UIKit   -[UINib instantiateWithOwner:options:]
8   Release -1  7   00:14.432.964   UIKit   -[UINibDecoder finishDecoding]
    Release (2) -2      00:14.433.013   UIKit   -[UINibDecoder finishDecoding]
10  Release -1  5   00:14.433.134   UIKit   -[UINibDecoder finishDecoding]
11  Release -1  4   00:14.433.176   UIKit   -[UIRuntimeConnection dealloc]
12  Release -1  3   00:14.433.341   UIKit   -[UIRuntimeConnection dealloc]
14  Retain  +1  3   00:14.434.055   UIKit   -[UIStoryboardSegue initWithIdentifier:source:destination:]
    Retain/Release (2)          00:14.434.138   RaceMe  -[ReceivedTabTableViewController prepareForSegue:sender:]
17  Retain  +1  4   00:14.436.369   UIKit   -[UIViewController _addChildViewController:performHierarchyCheck:notifyWillMove:]
    Retain/Autorelease/Release (3)          00:14.437.924   UIKit   -[UINavigationController topViewController]
    Retain/Autorelease/Release (3)          00:14.438.033   UIKit   -[UINavigationController topViewController]
    Retain/Release (2)          00:14.438.158   UIKit   -[UINavigationController pushViewController:transition:forceImmediate:]
    Retain/Autorelease/Release (3)          00:14.465.975   UIKit   -[UINavigationController topViewController]
25  Retain  +1  9   00:14.466.037   libsystem_blocks.dylib  _Block_object_assign
26  Retain  +1  10  00:14.467.423   UIKit   -[UINavigationController topViewController]
27  Autorelease         00:14.467.430   UIKit   -[UINavigationController _startDeferredTransitionIfNeeded:]
28  Retain  +1  11  00:14.467.467   UIKit   -[UINavigationController topViewController]
29  Autorelease         00:14.467.475   UIKit   -[UINavigationController _startCustomTransition:]
30  Retain  +1  12  00:14.477.542   UIKit   -[UINib instantiateWithOwner:options:]
31  Retain  +1  13  00:14.484.362   UIKit   -[UINib instantiateWithOwner:options:]
32  Retain  +1  14  00:14.484.481   UIKit   -[UINib instantiateWithOwner:options:]
33  Retain  +1  15  00:14.484.582   UIKit   +[UIProxyObject addMappings:forCoder:]
34  Retain  +1  16  00:14.493.202   UIKit   -[UIProxyObject initWithCoder:]
    Retain/Release (12)         00:14.493.229   UIKit   -[UIRuntimeConnection initWithCoder:]
    Retain (4)  +4      00:14.494.155   UIKit   -[UIRuntimeConnection initWithCoder:]
40  Retain  +1  22  00:14.498.045   UIKit   -[UIProxyObject initWithCoder:]
46  Release -1  26  00:14.505.411   UIKit   -[UINib instantiateWithOwner:options:]
    Release (4) -4      00:14.506.686   UIKit   -[UINibDecoder finishDecoding]
    Release (4) -4      00:14.507.340   UIKit   -[UIRuntimeConnection dealloc]
61  Release -1  11  00:14.509.718   Foundation  -[NSAutoreleasePool drain]
62  Retain  +1  12  00:14.513.293   UIKit   -[UINavigationController topViewController]
63  Autorelease         00:14.513.308   UIKit   -[UINavigationController _startCustomTransition:]
    Retain/Release (2)          00:14.513.330   UIKit   -[UINavigationController _startCustomTransition:]
66  Retain  +1  13  00:14.513.399   UIKit   -[UINavigationController topViewController]
67  Autorelease         00:14.513.407   UIKit   -[UINavigationController _startCustomTransition:]
68  Retain  +1  14  00:14.513.477   UIKit   -[UINavigationController _startCustomTransition:]
69  Release -1  13  00:14.513.642   UIKit   -[UINavigationController _startCustomTransition:]
    Retain/Autorelease/Release (3)          00:14.514.475   UIKit   -[UINavigationController topViewController]
72  Retain  +1  15  00:14.719.975   libsystem_blocks.dylib  _Block_object_assign
    Retain/Autorelease/Release (3)          00:14.722.535   UIKit   -[UINavigationController topViewController]
    Retain/Release (2)          00:14.723.110   UIKit   -[UIResponder becomeFirstResponder]
77  Release -1  15  00:14.762.974   libsystem_blocks.dylib  _Block_release
    Release (3) -3      00:15.145.440   QuartzCore  CA::Transaction::observer_callback(__CFRunLoopObserver*, unsigned long, void*)
84  Release -1  8   00:15.146.309   UIKit   _wrapRunLoopWithAutoreleasePoolHandler
87  Release -1  5   00:15.147.134   UIKit   -[UIStoryboardSegue dealloc]
88  Release -1  4   00:15.147.183   UIKit   _wrapRunLoopWithAutoreleasePoolHandler
89  Release -1  3   00:15.147.322   UIKit   -[UIStoryboardScene dealloc]
90  Retain  +1  4   00:15.385.010   UIKit   -[UINavigationController topViewController]
91  Autorelease         00:15.385.017   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
    Retain/Autorelease/Release (3)          00:15.429.329   UIKit   -[UINavigationController topViewController]
94  Retain  +1  6   00:15.431.214   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
    Release (2) -2      00:15.431.373   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
97  Release -1  3   00:15.433.236   UIKit   __destroy_helper_block_119
98  Release -1  2   00:15.433.615   GraphicsServices    GSEventRunModal
    Retain/Autorelease/Release (3)          00:15.792.024   UIKit   -[UINavigationController topViewController]
    Retain/Autorelease/Release (3)          00:15.792.321   UIKit   -[UINavigationController topViewController]
    Retain/Autorelease/Release (6)          00:15.792.807   UIKit   -[UINavigationController topViewController]
    Retain/Release (2)          00:15.792.878   UIKit   -[UINavigationController _popViewControllerWithTransition:allowPoppingLast:]
    Release/Retain (2)          00:15.792.899   UIKit   _popViewControllerNormal
    Retain/Release (2)          00:15.793.576   UIKit   _popViewControllerNormal
    Retain/Release (8)          00:15.824.455   UIKit   -[UINavigationController _startCustomTransition:]
124 Retain  +1  4   00:16.554.694   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
126 Retain  +1  4   00:16.555.120   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
128 Release -1  2   00:16.555.354   UIKit   -[UINavigationController navigationTransitionView:didEndTransition:fromView:toView:]
130 Release -1  0   00:16.559.291   UIKit   __destroy_helper_block_119
131 Zombie      -1  00:18.098.937   UIKit   -[UINavigationController _startCustomTransition:]

I tried seeing if I called MatchCellDetailsViewController somewhere where I wasn't supposed to, but I couldn't find where I used the class and would've caused the problem. The second tab is a delegate of MatchCellDetailsViewController so that I could pass data backwards, but other than that, I don't think I made any wrong calls. I'm not really sure what the _startCustomTransition is referring to.
Any help on locating where the problem could possibly be is appreciated. Thanks
----EDIT----
I think the problem is somewhere in these two classes and I tried posting the more relevant parts of the code.
ReceivedTabBarViewController.m (home screen goes to this)
- (void)viewWillAppear:(BOOL)animated
{
  [super viewWillAppear:animated];
  [self.tableView reloadData]; //necessary to reload if user switches between tabs
}
- (void)viewDidLoad
{
  [super viewDidLoad];

  [self loadMatchesWithCallback:^(NSArray *matches) {
    self.matches = matches;
    self.matchesMutable = [NSMutableArray arrayWithArray:self.matches];
    [self.activityIndicator startAnimating];

    if ([self.matches count] == 0) { [self.activityIndicator stopAnimating]; }

    for (GKTurnBasedMatch *match in self.matches) {
      //Gets the match data
      [self loadAndDisplayMatchDataWithCallback:match callback:^(NSData *matchData) {
        RaceMeGame *updatedGame = [NSKeyedUnarchiver unarchiveObjectWithData:matchData];
        NSString *matchDataString = [NSString stringWithFormat:@"%@ %@ %@ %d", updatedGame.matchDistance, updatedGame.status, updatedGame.score, updatedGame.numberOfTurns];
        [self.matchWithMatchData setObject:matchDataString forKey:match.matchID];

        NSLog(@"Match data: %@", matchDataString);
        NSLog(@"Current number of turns: %d", updatedGame.numberOfTurns);

        //Converts the matchID to a GKTurnBasedMatch
        [self retrieveMatch:match.matchID callback:^(GKTurnBasedMatch *match) {

          GKTurnBasedParticipant *currentPlayerInMatch = [match currentParticipant];
          NSArray *currentPlayerIDs = [[NSArray alloc] initWithObjects:currentPlayerInMatch.playerID, nil];

          //Converts a player ID to a player's alias
          [self retrievePlayerAliases:currentPlayerIDs callback:^(NSArray *players) {

            [self.currentPlayerTurnAliasList addObject:((GKPlayer*)[players firstObject]).alias];

            if ([self.currentPlayerTurnAliasList count] == [self.matches count]) {
              [self.tableView reloadData];
              [self.activityIndicator stopAnimating];
            }
          }];

        }];
      }];
    }
  }];
}

- (void)removeReceivedChallenge:(NSInteger)index
{
  GKTurnBasedMatch *match = [self.matchesMutable objectAtIndex:index];

  //Remove the data from table
  [self.matchWithMatchData removeObjectForKey:match.matchID];
  [self.matchesMutable removeObjectAtIndex:(NSUInteger)index];

  NSIndexPath *myIP = [NSIndexPath indexPathForRow:index inSection:0];

  [self.tableView beginUpdates];
  [self.tableView deleteRowsAtIndexPaths:[NSArray arrayWithObject:myIP] withRowAnimation:UITableViewRowAnimationAutomatic];
  [self.tableView endUpdates];
}

#pragma mark - MatchCellDetailsViewController Delegate
- (void)indexRemoveViewController:(MatchCellDetailsViewController *)controller didFinishRemovingIndex:(NSInteger)index
{
  [self removeReceivedChallenge:index];
}

- (void)moveChallengeToCurrentViewController:(MatchCellDetailsViewController *)controller didFinishMoving:(GKTurnBasedMatch*)match
{
  GlobalVars *globals = [GlobalVars sharedInstance];
  RaceMeGame *updatedGame = [NSKeyedUnarchiver unarchiveObjectWithData:match.matchData];

  NSArray *currentPlayerIDs = [[NSArray alloc] initWithObjects:match.currentParticipant.playerID, nil];
  [self retrievePlayerAliases:currentPlayerIDs callback:^(NSArray *players) {

    [globals.currentMatches setObject:[[NSDictionary alloc]
                                       initWithObjectsAndKeys:updatedGame.status, ((GKPlayer*)[players firstObject]).alias, nil]
                               forKey:match.matchID];

    if (![globals.currentMatchesHelper containsObject:match.matchID]) {
      [globals.currentMatchesHelper addObject:match.matchID];
    }

  }];

}

#pragma mark - Navigation

- (void)prepareForSegue:(UIStoryboardSegue *)segue sender:(id)sender
{
  if ([[segue identifier] isEqualToString:@"ShowReceivedChallengeDetails"]) {
    MatchCellDetailsViewController *detailViewController = [segue destinationViewController];
    NSIndexPath *myIndexPath = [self.tableView indexPathForSelectedRow];
    long row = [myIndexPath row];

    //Distance-Status-Score-NumberOfTurns
    NSString *tempMatchString = [self.matchWithMatchData objectForKey:((GKTurnBasedMatch *)[self.matchesMutable objectAtIndex:row]).matchID];
    NSArray *tempMatchArrayData = [tempMatchString componentsSeparatedByString:@" "];

    detailViewController.distance = [NSString stringWithFormat:@"Distance: %@", [tempMatchArrayData objectAtIndex:0]];
    detailViewController.status = [NSString stringWithFormat:@"Game Status: %@", [tempMatchArrayData objectAtIndex:1]];
    detailViewController.participant = [NSString stringWithFormat:@"Current Players Turn: %@", [self.currentPlayerTurnAliasList objectAtIndex:row]];
    detailViewController.currentNumberOfTurns = [[tempMatchArrayData objectAtIndex:3] intValue];

    detailViewController.match = [self.matchesMutable objectAtIndex:row];
    detailViewController.rowSelected = (NSInteger)row;
    detailViewController.delegate = self;
  }
}

MatchCellDetailsViewController.m
- (void)viewDidLoad
{
  [super viewDidLoad];
  self.navigationController.delegate = self;
  self.distanceLabel.text = self.distance;
  self.statusLabel.text = self.status;
  self.currentPlayersLabel.text = self.participant;
}

- (IBAction)acceptInvite:(UIButton *)sender {

  [self.match acceptInviteWithCompletionHandler:^(GKTurnBasedMatch *match, NSError *error) {
    if (error) {
    }
    else {
      if (self.currentNumberOfTurns == 1) {
        //advance turn back to the other user
        [GameCenterHelper sharedInstance].currentMatch = match;
        NSLog(@"Advancing turn");

        /***** Preparation to advance turn ******/

        //Converting game to NSData and sending it as match data
        if ([[GameCenterHelper sharedInstance].currentMatch.matchData bytes] == 0) {
          NSLog(@"Match data not created yet, allocating and initializing it");
          [GameCenterHelper sharedInstance].gameData = [[RaceMeGame alloc] init];
          [[GameCenterHelper sharedInstance] advanceTurn];

          NSInteger index = self.rowSelected;
          NSLog(@"Index being passed: %d", index);
          [self.delegate indexRemoveViewController:self didFinishRemovingIndex:index];

          [self.delegate moveChallengeToCurrentViewController:self didFinishMoving:match];

        } else {
          [[GameCenterHelper sharedInstance] loadAndDisplayMatchDataWithCallback:[GameCenterHelper sharedInstance].currentMatch callback:^(NSData *matchData) {
            [GameCenterHelper sharedInstance].gameData = [NSKeyedUnarchiver unarchiveObjectWithData:matchData];
            [[GameCenterHelper sharedInstance] advanceTurn];

            //Remove this cell from ReceivedChallengesVC
            NSInteger index = self.rowSelected;
            [self.delegate indexRemoveViewController:self didFinishRemovingIndex:index];

            //Send the data to CurrentMatchesVC
            //Moves the challenge that the player has accepted the invite to from ReceivedChallengesVC to CurrentChallengesVC
            [self.delegate moveChallengeToCurrentViewController:self didFinishMoving:match];
          }];
        }

      } else {
        NSLog(@"Error: %@", error);
      }
    }
  }];

}

A: Swift iOS: Zombie UIKit [UINavigationController _startCustomTransition:]
I was using following code that was generating errors:
override func viewDidLoad() {
    super.viewDidLoad()

    self.navigationController?.delegate = self

}// end viewDidLoad

But once i have changed the delegate in view appear it started working without any crash
override func viewWillAppear(animated: Bool) {
    super.viewWillAppear(animated)

    self.navigationController?.delegate = self
}

A: So I think I found the actual answer. I found that the "fix" I made wasn't actually working when I started to do a different sequence of view controllers. It also looked weird so after looking at my code again, it looks like the actual problem was that I wasn't resetting my delegates.

redpajama_set_name: RedPajamaStackExchange


Comparing traffic and road networks to water in a pipe is a common analogy, not one that always makes sense, but using that analogy, below I set out one reason why we need better transit in Metro Vancouver.
Firstly, even if you never use transit, you can't be happy at the thought of 1 million more people and their cars further clogging up Metro Vancouver roads. Even if you have no intention of ever using the proposed new transit services, you must be hoping that most of the 1 million new people that are expected to arrive in the region have the opportunity to do so, and therefore, are not be sitting in front of you in traffic slowing you down more than you currently are.
If transit does not improve, we can expect more congestion and longer commutes. The Yes campaign promises time savings of 20-30 minutes per day and cutting congestion by 20%. While I haven't seen the data these claims are based on, really, what I would suspect is that your commute won't get 20-30 minutes longer per day, it will stay somewhere around current levels despite the extra 1 million people. Going back to the pipe analogy, how do you get more water through the pipe when the pipe is full?
We live in a largely developed region with limited scope to increase the size of the pipe. We live in a region of bridges to cross various bodies of water, these bridges have a fixed vehicle capacity, short of building newer wider bridges or more bridges, we cannot provide extra vehicle capacity on the Port Mann, Pattullo, Alex Fraser, Knight Street, Pitt River, Golden Ears, Lions Gate, Second Narrows, etc, etc. These bridges are already congested at peak times, if you can't increase the number of vehicles you have to increase the number of people in each vehicle.
What if you never have to cross a bridge? Why do you need more transit? Our city streets are no different, and road width is constrained to current proportions by buildings on either side. Our cities are largely built out and there is little scope in most places to widen roads to provide more capacity. The same concept applies, during already congested peak times, if you can't increase the number of vehicles you have to increase the number of people in each vehicle if we are to move more people along the same corridor..


Hey guys! I'm back! I know I've been really slacking when it comes to blog posts. I even promised some fashion posts in one of my last youtube videos… and totally forgot to actually post them..heh heh. But here is one of those looks! Better late than never, right? To be honest I was a little hesitant to still share this look because it's pretty different for me. I tried to step out of my comfort zone with these pants, and then just went crazy with the entire theme of the outfit from there!
I'm actually really glad I took a risk by purchasing these ruffled pants! I'm surprised at how flattering they are! And they're comfortable too. I wore them for the 4th of July, outdoors, playing with my one year old, and since they're stretchy, it was all good!
Anyway, I decided to go ALL OUT with this look. The ruffles and the gingham print really inspired me. I was thinking "Retro Picnic Barbie". So I went matchy-matchy with this baby blue bodysuit (which is actually long sleeve, but I tied the sleeves into a knot for a more summer-appropriate look). I also added a blue bow in my hair so this really screams Retro Barbie, and these cool denim heels which have a retro silhouette but also a transparent modern twist!
Here's a photo from the other day, styling these pants for the 4th of July!
The pants are cute but I am not feeling the barbie connection. The bow at your age is a little much!
Super cute and such a chic & creative way to style the body suit!!! And I love the bow no matter what age!
I love this outfit!! I actually bought these pants yesterday. I am hoping they fit me as well as they fit you.
have you gotten them yet, if so how did they fit?
Very cute. I love the look!!!
You're totally right! At first, I didn't think these pants were going to look cute on you, but they are to die for! I love how you styled them two ways.


text:
Fremantle, nom adopté en 1952 pour regrouper sous un même label de nombreuses sociétés acquises au cours de plusieurs décennies, est la filiale de production de programmes télévisés du conglomérat luxembourgeois RTL Group, présente dans 20 pays en tant que producteur, et dans 40 pays grâce à la vente de ses formats d'émissions. De son côté, son actionnaire unique, RTL Group, est l'une des plus grandes compagnies audiovisuelles européennes. En France, elle est l'actionnaire principal du Groupe M6 (Chaînes M6, W9, 6ter, Paris Première, Téva). RTL Groupe est elle-même détenue à 90 % par le Groupe d'édition allemand Bertelsmann AG.
FremantleMedia se répartit en deux entités :
 FremantleMedia pour la production d'émissions ;
 FremantleMedia Entreprise pour la vente de formats et de produits dérivés.

Histoire
L'appellation FremantleMedia a été adoptée en 2001 pour donner une cohérence et une identité au niveau international à un conglomérat de sociétés de productions acquises dans de nombreux pays, au cours des décennies, et ayant notamment opéré dans les années 1980-90 et jusqu'en 2000 sous les noms de  et de . La lointaine origine de ce groupe remonte à 1917, en Allemagne, avec la création d'une des plus anciennes sociétés de production cinématographique allemande : UFA (Universum Film AG), producteur de centaines de films parmi lesquels de grands classiques, tel L'Ange bleu (, 1930).

Dès les années 1950, le groupe se développe dans le secteur de la télévision, avec une politique d'acquisitions de sociétés indépendantes en Allemagne, puis en Grande-Bretagne («  », 1968, The Benny Hill Show, 1969, , 2000) et en Australie (« Grundy Television », « Crackerjack Productions »), tout en misant en pionnier sur les formats télévisés (Achat de Droits, vente de licences). C'est ainsi qu'il lança en 1956 Le Juste Prix, un succès mondial qui reste à ce jour le plus vieux programme au monde toujours à l'antenne (aux États-Unis).

La société
FremantleMedia est basée à Londres, en Grande-Bretagne. Elle dispose de filiales en Europe, en Asie (notamment au japon), en Amérique latine (notamment au Brésil), en Amérique du Nord, et en Océanie (notamment en Australie et en Nouvelle-Zélande).

FremantleMedia est présente dans tous les genres télévisés : programmes de flux, documentaires, fiction et jeux. Ces derniers ont longtemps constitué sa force et sa notoriété. En France, Questions pour un champion est à l'antenne sur France 3 depuis . Plus récemment, FremantleMedia s'est assuré divers formats de divertissements, comme American Idol (Nouvelle Star en France), Du talent à revendre (La France a un incroyable talent en France) ou The X Factor (X Factor en France). La société est également présente en fiction télévisée, notamment en Allemagne, et en magazines en France, notamment depuis le rachat de , en 2001.

Fremantle France

En France, cette société a longtemps opéré dès 1988 sous les noms de Grundy France puis de Pearson Tv. Télé Images a été le représentant commercial en France de la société de 1988 à 1990. La société est successivement dirigée par Jacques Bal (1988-1990) Lionel Baert (1991-1996), Childéric Muller (1997-1999) et présidée par Michel Bassi puis Cécile Frot-Coutaz. De 1994 à 1999 Grundy-Pearson se classe en première position des sociétés de production de programmes TV  en France. Fusionnée au sein de Fremantle en 2001, elle prend le nom de FremantleMedia France. Elle y a produit ou produit notamment Questions pour un champion, Que le meilleur gagne, 100 % Question, Maïté, La Nouvelle Star, La France a un incroyable talent, L'Inventeur de l'année, Le Juste Prix, Une famille en or, L'amour est dans le pré, D&Co, Mot de passe…Thierry Caillon lui succède en qualité de Président en 1999. Il dirigera la société jusqu'à 2003.

De 2007 à 2018, FremantleMedia France est dirigée par Monica Galer, suite à Bibiane Godfroid, devenue Directrice des Programmes de M6. Depuis 2018, Bruno Loup Fallot a succédé à Monica Galer au poste de Président.

En 2001, FremantleMedia achète Be Happy productions, créée par Patrick Meney, spécialisée dans les magazines, produisant notamment Défense d'Entrer (TF1), Ça me révolte!, Affaires de famille, Supernanny, Oui Chef!, Vive la cantine! (M6), Fallait y penser, Immersion totale, La France en héritage, On vous dit pourquoi (France 2)…

En 2004, FremantleMedia s'associe à KM Production, la société de production de Renaud Le Van Kim, pour créer FremantleKM. Depuis, Renaud Le Van Kim, qui produit notamment Le grand journal sur Canal +, s'est associé au groupe international Zodiak.

En octobre 2018, FremantleMedia change de nom au profit de Fremantle France.

Le chiffre d'affaires 2018 est de 24 515 700 € avec un résultat négatif de 4 167 800 € et un effectif moyen annuel de 96 salariés

Productions à l'antenne
 France 3 : Questions pour un champion
 M6 : L'amour est dans le pré, C'est du propre !, La France a un incroyable talent, Tous les vœux sont permis, Mon Admirateur Secret, Cette Maison est pour vous !
 Autres télévisions (TNT) : À la recherche du grand amour, Memo quiz, Tous en course, Séduis-moi… si tu peux !, W9 d'Or
Plateformes digitales : C'est du gâteau (Netflix), Dîner avec mon ex (6play)

Anciennes productions
 TF1 : Bigdil (jeu), Une famille en or (jeu), Le Juste Prix, Mais Comment font-ils?, Chéri Chéries, Pouch' le bouton
 France télévisions : A Table avec Maïté, 100 % Question, et 1 et 2 et 3, Tout en Musique, Monte le son, la brigade des jardiniers, Une semaine chrono, Le Jeu, Mot de passe, Que le meilleur gagne
 M6 : En voilà des manières, Bluff impossible, Chef, la recette !, L'Inventeur de l'année, Nouvelle Star, Nouvelle Star, ça continue, Oui chef !, Panique en cuisine, Popstars, Super Nanny, X Factor, D&CO, Espoir de l'année, Ma mère cuisine mieux que la tienne !, 5 hommes à la maison
 Autres télévisions (TNT) : À la recherche du nouveau Michael Jackson (télé-réalité - W9), Non stop Joe, Quizmax (jeu), Tête de mioches, Viens partager ma vie (TMC), Nouvelle Star (D8), Total Blackout (W9)

Notes et références

Liens externes

Société de télévision
Entreprise ayant son siège à Londres
Entreprise ayant son siège à Issy-les-Moulineaux
RTL Group
Entreprise fondée en 2001

redpajama_set_name: RedPajamaWikipedia


text:
Tag Archives: Walerian Borowczyk
Check it out, Home entertainment
Immoral Tales
September 24, 2014 Pam Jahn
Camera Obscura: The Walerian Borowczyk Collection
Release date: 8 September 2014
Distributor: Arrow Academy
Director: Walerian Borowczyk
Writer: André Pieyre de Mandiargues
Cast: Fabrice Luchini, Lise Danvers, Charlotte Alexandra, Paloma Picasso, Florence Bellamy
Original title: Contes immoraux
Walerian Borowczyk's art/filth portmanteau film consists of four stories. Set in the modern world, on a barren pebble beach 'La Marée' ('The Tide') has Fabrice Luchini as a 20-year-old boy using his seniority to impose his desires on his 16-year-old cousin (Lise Danvers).
Set in 1890, 'Thérèse Philosophe' has Charlotte Alexandra as a pious girl, locked in her room, who gets all hot and bothered by the stations of the cross (and a mucky illustrated tract), before falling victim to a malicious vagrant.
The third episode is a staging of the Erzsebet Bathory legend, as Paloma Picasso rides into a Hungarian village and rounds up all the suitably pulchritudinous females for a ritualised sequence of bathing, frock ripping and eventual slaughter. She bathes in their blood before making love to her female squire, who then betrays her to the King's men.
'Lucrezia Borgia' is a carnival of power, corruption and hypocrisy as Lucrezia (Florence Bellamy), the Pope, and various holy lackeys indulge in cackling murder and blasphemous three-way fornication, while a preacher who denounces their regime is burnt at the stake for his troubles.
Plotwise, we are in a brutal and troubling world here, where the urge to power and the sexual drive are hopelessly entwined; where authority is corrupt and murderous and innocence or righteousness are doomed. There's a Sadean delight in perversity, an emphasis on anti-clericalism and a delight in the blasphemous. This being a Borowczyk film, though, it's all incredibly seductive, a sensual world of white lace, creamy marble and peachy flesh where everything is sexualised. The carefully chosen objects decorating his sets and locations are there to be stroked, fondled and played with; the elaborate costumes are there to be elaborately removed. Dialogue is sparse, the visual takes precedence. It's gorgeous, feeling at times like we've wandered into a Brueghel, or Dutch master painting.
Immoral Tales brings Pasolini's Salò (1975) to mind on more than one occasion, but while that film is hellish, cold and ultimately depressing, Borowczyk's is just that bit more playful – you can sense a knowing smile playing around his lips as the outrage hits home. Sexuality in his films is overwhelming and dangerous and often twisted, but it's also natural and human and obviously a source of immense pleasure. He often intercuts his scenes of carnality with on-looking animals and uncaring nature, as if they are sitting in judgement, wondering how we let something so simple get so fucked up.
Immoral Tales had a convoluted release history. The episodes were made over 1973-4, and an unfinished version played at the London Film festival in 1974. This disc includes the longer French edit, including another episode, ' La Bête' ('The Beast'). This was the version that won the L'Age d'Or award (as judged by Max Ernst, among others) and became a box office hit, before it was removed and expanded to become its own feature film La Bête in 1976. I'm grateful for the episodes's inclusion here because it's probably my favourite of the Tales: a virginal 18th-century French woman breaks off from playing the harpsichord to follow a straying lamb into the woods, whereupon she is chased and ravaged by a beast, a huge brown-eyed bear-like creature with a seemingly permanent, jism-dripping erection*. Her sexuality awakened, she throws off her corset and proceeds to hump the exhausted creature to death. She then tenderly covers its body with dry leaves, grabs what remains of her clothing and returns to civilisation. This is, I realise, pretty much indefensible from any sexual/political point of view, but as a piece of uninhibited Freudian fantasy cinema it takes some beating. Borowczyk's Tales all work on this level, troubling wet dreams emerging from his id.
I'm not sure how well they would function as straight pornography, how much use the raincoat brigade would have for cutaways of a snail crawling over a silk shoe, or all that choral and keyboard music. And while the tales are clearly meant to provoke, they simply don't follow the exploitation playbook. The Bathory and Borgia episodes are notably coy about onscreen violence considering their blood-soaked possibilities. An animator and a supremely visual stylist, the Borowczyk of Immoral Tales is akin to a sensationalist Buñuel , an old-school surrealist with a one-track mind.
Special features include Private Collection, an odd, amusing short in which a man, his head never in shot, displays to us his extensive collection of historical smut: prints, projections, dildos and mechanical toys. There are a couple of informative featurettes, the aforementioned L'Age d'Or award cut of the film, and a trailer. All in all, a fine package for an essential piece of weird cinema.
Mark Stafford
*As arthouse lust monsters go, it's up there with Isabelle Adjani's tentacled lover in Zulawski's Possession (1981). Incidentally, a young Adjani was to be cast in 'La Marée', which would have been her first film, before she got cold feet.
70s eroticaerotic cinemaexploitationFrench cinemaImmoral TalesPolish cinemaThe BeastWalerian Borowczyk
July 22, 2014 Pam Jahn
Format: Dual Format (DVD + Blu-ray)
Writer: Walerian Borowczyk
Cast: Sirpa Lane, Lisbeth Hummel, Elisabeth Kaza
Original title: La Bête
Part fairy tale, part sex romp, part Buñuelian satire, Walerian Borowczyk's The Beast is as much of a quirky oddity now as it was upon its original release in 1973. Disparaged by Borowczyk purists and mainstream reviewers both (the New York Times called it 'unfit for man or beast'), the film was originally rejected for UK certification by the BBFC and not seen here in its uncut form until 2001, when it finally underwent something of a critical reappraisal.
So how does the once controversial film look now, nearly 40 years on from its production? Certainly still transgressive; perhaps less so for its over the top scenes of prosthetic bestiality than its cheerful disavowal of current social mores (it's hard to imagine the character of the priapic black servant passing muster these days, for one). The sexual liaison between woman and beast (King Kong with bodily fluids!) that so outraged reviewers at the time seems largely comic now; not simply because of the relatively primitive make-up effects, but mainly due to the fact that Borowczyk seems to be in on the joke, even if most of the critics of the period weren't.
But beyond the more censor-baiting material, The Beast is still a barbed, funny satire on sex, hypocrisy and repression. Certainly its jabs at the aristocracy and the priesthood, although perhaps less daring with age, are still relevant several decades on. And the director's visual command and deft pacing keep the bawdy hijinks from ever descending into complete silliness, even if he never seems to be taking any of it particularly seriously. It's impossible to claim The Beast as a particularly poetic or meaningful film; without a doubt there are Borowczyk works that go deeper. But it nevertheless remains a defiantly entertaining one, political correctness be damned.
bestialitycensorshiperoticaFrench cinemaPolish cinemaWalerian Borowczyk
Check it out, Comic Strip Reviews
Les Astronautes
June 28, 2014 Pam Jahn
As part of our exploration of ground-breaking Polish director Walerian Borowczyk, our comic strip review looks at the wonderful animation short Les Astronautes, made by Borowczyk in 1959 in collaboration with Chris Marker.
As part of Kinoteka, 'Walerian Borowczyk: The Listening Eye', an exhibition of preliminary studies for his animated shorts Les Jeux des Anges (1964), Le dictionnaire de Joachim (1965) and The Theatre of Mr and Mrs Kabal (1967) as well as his unique wooden sound sculptures is on at the ICA's Fox Reading Room from 20 May – 6 July 2014.
Camera Obscura: The Walerian Borowczyk Collection is released by Arrow Academy on 8 September 2014. This unique limited edition box set (Dual Format DVD + Blu-ray) includes the short films, The Theatre of Mr and Mrs Kabal, Goto, l'île d'amour, Blanche, The Beast and Immoral Tales.
Comic Strip Review by Lord Hurk
More information on Lord Hurk can be found at www.lordhurk.com.
animationshort filmspace filmsWalerian Borowczyk
Check it out, Cinema releases
Format: Dual Format (Blu-ray + DVD)
Distributor: Arrow Video
Based on the novel by: Stefan Zeromski
Cast: Grazyna Dlugolecka, Jerzy Zelnik, Olgierd Łukaszewicz
Original title: Dzieje grzechu
Eve is traditionally the temptress, but in The Story of Sin, it is Ewa who is tempted when a handsome anthropologist, Lukasz, comes to stay as a lodger in her parents' house. Already married, Lukasz is in the process of seeking a divorce – no easy task for a Catholic. In the meantime, a relationship begins between him and Ewa with, on her side, all the passion of first love… and all its obsessed desperation when Lukasz suddenly departs. Ewa leaves her job and family to go in search of him, a bold decision for a woman living around the turn of the century. As she and Lukasz are successively reunited and separated by a series of melodramatic events, Ewa's downfall is assured by the predatory men she encounters on her travels.
Made the same year as The Beast (La Bête), with its fantasy sequences of bestiality, The Story of Sin has been subject to critical debate about whether it is art or soft-core pornography – the same debate that has surrounded the majority of director Walerian Borowczyk's features. Adapted from a novel by Stefan ?eromski, it has a period setting, complete with its costumes and manners. When the film departs from the expected tropes of the period piece, the effect is startling. Ewa and Lukasz meet each other with all the expected formality, so buttoned-up that a corset left carelessly on a bedpost intrigues Lukasz and mortifies Ewa. Just a couple of scenes later, Lukasz is groping Ewa in a public park. They begin writing ardent letters to each other, Ewa slipping her billets doux discreetly into Lukasz's mailbox, only to lie stark naked in bed as she reads his replies. The film's artistic credentials are boosted by Borowczyk's virtuoso use of close-ups and point-of-view shots, which lend something of the unexpected to an otherwise slavish blow-by-blow, over-long enactment of the novel.
Most scenes in the film are permeated with sexual threat, from the lascivious artist (another lodger), to the priapic villain who propositions Ewa in a village tavern and, when she refuses, improbably pursues her across Europe. If every man lusts after Ewa (apart from her father and one homosexual character), it is not that she is irresistible: it is that they see Ewa, like all women, as nothing more than prey, which they have a god-given right, as men, to use for their pleasure. Even Lukasz may be a fly-by-night – it is Ewa who makes all the effort to find him, while he never seems to be around when she needs him most. There is just one scene in the film where male and female bodies, in lovemaking, appear equally vulnerable and desirable beneath the camera's gaze. Yet even this image is severely compromised by the fact that Ewa is being forced: her partner, completely in love with her, doesn't realise that another man has orchestrated the encounter against her will. All in all, The Story of Sin makes for uncomfortable viewing.
Alison Frank
1970s cinemaPolish cinemaStefan ZeromskiWalerian Borowczyk
Who Is Walerian Borowczyk?
As part of our exploration of ground-breaking Polish director Walerian Borowczyk, we look at his career as a board game in our comic strip review.
Two programmes of Borowczyk's short films will screen at the ICA on 24 and 25 May 2014.
The Walerian Borowczyk retrospective runs at BFI Southbank until the end of May 2014.
Camera Obscura: The Walerian Borowczyk Collection is released by Arrow Academy on 8 September 2014. This unique limited edition box set (Dual Format DVD + Blu-ray) includes the short films, The Theatre of Mr and Mrs Kabal, Goto, l'île d'amour, Blanche, The Beast and Immoral Tales – it does not contain The Strange Case of Dr Jekyll and Miss Osbourne.
Comic Strip Review by Tony Hitchman
Tony Hitchman is the co-author of Using Comic Art to Improve Speaking, Reading and Writing.
animationKinotekaPolish cinemashort filmsWalerian Borowczyk
Check it out, Cinema releases, Home entertainment
Based on the poem by: Juliusz S?;owacki
Cast: Ligia Branice, Michel Simon, Georges Wilson
Walerian Borowczyk's medieval tragedy fools audiences into expecting one of the erotic films for which the director later became infamous. In the opening sequence of Blanche, the title character is seen emerging, completely naked, from her bath. The camera's lascivious eye sets the scene for a tale of forbidden desire, but Blanche herself is as pure as her name (French for 'white'). For the rest of the film she always appears, nun-like, in long gowns and modest caps that hide all but her hands and face. Young, beautiful, and married to an elderly baron, Blanche must flee the attentions of other men, starting with Bartolomeo, the notorious young page of a visiting king.
With its elegant costumes and set design, Blanche could be described as a historical drama, but the film's sophistication exceeds conventional models. Borowczyk's background in fine arts allows him to bring an additional layer of authenticity to the film by drawing on the representational style of the Middle Ages. Shots, composition and framing pay homage to medieval landscape and religious painting. Windows, doors and alcoves dramatically divide interior shots. Exterior long shots emphasise the harmonious juxtaposition of hilltop, pasture and road, with grazing animals and passing cavalcades reduced to minute decorative detail. The film also employs an animal symbolism characteristic of the period. The king arrives with a monkey on his shoulder, a disquieting emblem of insinuating, irrepressible sexuality that has free run of the castle, hiding away only to pop up unexpectedly throughout the film. In contrast, Blanche's gentle, vulnerable innocence is mirrored by the caged white dove in her bedroom. Tempering the film's loyalty to a medieval aesthetic, Borowczyk introduces self-reflexive techniques, such as disorientating point-of-view shots, which situate the film within a current of modern cinematic experimentation.
Daniel Bird, who is responsible for the restoration of Borowczyk's films, says that Blanche (1972) inspired Terry Gilliam's vision of the Middle Ages in Monty Python and the Holy Grail (1975). I would suggest that Blanche itself appears to have been inspired by Jacques Demy's Peau d'â;ne (Donkey Skin, 1970), a camp fairy tale about a princess (Catherine Deneuve) who must run away from home when her father decides he wants to marry her. The baron in Blanche is played by Michel Simon, who made his name in 1930s French poetic realist films like Boudu sauvé; des eaux (Boudu Saved from Drowning), L'Atalante and Le quai des brumes (Port of Shadows). He was in his late seventies when he appeared in Blanche opposite Ligia Branice, Borowczyk's wife; as the baron is old enough to be her father, an early shot of him kissing Blanche on the mouth appears incestuous, echoing the theme of Demy's film. Jacques Perrin, the young actor who played Prince Charming in Peau d'â;ne, reappears in Blanche as Bartolomeo, another role in which he ultimately defends the heroine's honour.
The baron justly describes his wife as 'a saintly woman, above all suspicion', but halfway through the film he suddenly loses his trust in her. As he becomes irrationally hostile towards Blanche, we may assume that the old man is suffering from dementia. His condition seems to infect the film's narrative, which loses its grip on the thread of logical coherence. Still, Borowczyk has woven such a mesmerising tapestry that the audience can't help but continue to watch as it slowly, senselessly unravels.
fairy taleFrench cinemaMichel SimonMiddle AgesPolish cinemaWalerian Borowczyk
The Streetwalker
May 10, 2014 Pam Jahn
Based on the novel by: André Pieyre de Mandiargues
Cast: Sylvia Kristel, Joe Dallesandro
Original title: La marge
Alternative title: The Margin
I think it was Lacan who asked the question: if we're always thinking about sex when we're doing other things – eating bananas, driving fast cars, learning French – what are we thinking about when we're actually having sex? When Sylvia Kristel's streetwalker Diana has sex in Walerian Borowczyk's 1976 film The Streetwalker (La marge), it's so obvious as to almost be ludicrous. She stares at the money that she has clutched in her hand with such intensity as to leave no doubt, even as her John, Sigimond (the iconic Joe Dallesandro) thrusts intently away. Sex is a transaction, a way of earning money. Sigimond is a rich vineyard owner with a young family visiting Paris for business. He is a romantic. He is not lonely and Borowczyk shows his home life to be sexually satisfying, idyllic even. He's prone to mutter mid-coital silliness such as 'You are the gift and the giver'. And so his dalliance and experimentation while away on his 'business trip' has nothing to do with filling a vacuum. He just wants to have some sex. When he is having sex – to answer Lacan's question and in opposition to Diana – he is thinking about the sex he is having. The film will trace his increasing distraction and the tragic price to be paid for such guileless romance, even as Diana becomes more aware of sex as something other than a way of earning money, which in itself proves a painful reawakening.
Released two years after Kristel achieved notoriety and worldwide fame as Emmanuelle, the film stands as a testament to her genuine ability as an actress, and it is cited by the actress as her favourite role. Her fragility – the gnawing anxiety that she is already being superseded by younger models of her former self – and her growing yearning for something other than monetary gain is played out in a brilliant and nuanced performance. With the shifting of porn into the mainstream via the internet and the proliferation of sexposition in TV drama, the film doesn't even seem particularly pornographic today, but on release it was received as another attempt to gain art-house respectability for sex films. Kristel's fame possibly damaged the film as it was remarketed in some regions as Emmanuelle '77. However, despite the movie star beauty of the prostitutes, Borowczyk never celebrates sex unambiguously, juxtaposing it with the banal. A beautifully shot strip show takes place as a crate of booze is delivered to the bar by a working stiff – sign here, keep a copy – and Diana will retire to the same backroom for a quick delivery of her own. The prostitutes are bitchy and Diana herself is dishonest and angry. Her pimp is a lazy dressing-gown-clad psychopath who does target practice with his pistol in his hotel room. But it is not just the sex that has to contend with the banal, but tragedy too when Sigimond reads a terrible letter from home while gazing over the most unromantic Parisian view of a huge building site.
Camera Obscura: The Walerian Borowczyk Collection is released by Arrow Academy on 8 September 2014. This unique limited edition box set (Dual Format DVD + Blu-ray) includes the short films, The Theatre of Mr and Mrs Kabal, Goto, l'île d'amour, Blanche, The Beast and Immoral Tales – it does not contain The Streetwalker.
With a score from some giants of 1970s music, a stunning extended use of Pink Floyd's 'Shine on You Crazy Diamond' and some fantastic cinematography by long-time collaborator Bernard Daillencourt, the film is a beautiful melancholic meditation on sex in a dirty, dirty world.
John Bleasdale
Watch the original trailer:
arthouseeroticafilm musicfilm scorefilm soundtrackFrench cinemaJoe DallesandroPink FloydPolish cinemaSylvia KristelWalerian Borowczyk
Goto, Island of Love
June 4, 2009 VirginieSelavy	1 Comment
Cast: Pierre Brasseur, Ligia Branice, Jean-Pierre Andréani, Guy Saint-Jean
Original title: Goto, l'île d'amour
It is Walerian Borowczyk's peculiar misfortune to have produced in The Beast (La Bête, 1975) one of the masterpieces of artful, twisted, preposterous erotica. Its success not only led him to making incompetent slop like Behind Convent Walls (Interno di un convento, 1978) and Emmanuelle V (1987): worse, it skewed his whole profile as a filmmaker, and many will view the meretricious tack available on DVD unaware, or at least disbelieving, that this was once one of the most inventive of animators.
This review was first published in 2009 for the first UK release of Goto, Island of Love on DVD release by Nouveaux Pictures in 2009.
This release of Goto, Island of Love fills in a vital, pre-erotic step in Borowczyk's work, revealing a highly individual approach to live action as seen through the eyes of an animator. A largely immobile camera fixed head-on to flat but grimy monochrome backdrops produces boxes within which actors are pinned with absurd symmetry like displays in the cabinets, or flies in the fly-traps, that litter the ritualistic world of Goto. The cells of this world also contain, and are seen from, improbable vantage points suggestive of optical devices. Binoculars are given thematic prominence throughout, but the whole mise en scéne implies peephole and camera obscura. In the opening credits we seem to peer into the workings of a giant live-action zoetrope. The rough planks of a riding school wall fill the screen as two horses periodically circle into view. Any idea of freedom or escape is produced and framed within a space of repetitive, mechanical illusion.
As we quickly learn via a school lesson, the island itself has been closed off from the outside world since the remarkable catastrophe of 1887, which wiped out most of the population and locked the survivors into the preservation of arcane tradition, like Gormenghast rewritten by Gombrowicz. Although suitably catechistic, the lesson is illustrated by an anamorphic image of the three governors to date - Gotos I, II & III. The attic of the riding school similarly offers three disjointed and illusory views: from one side, a grassy hill sloping down into woodland; from the next, a stark quarry; from the third, the rolling waves on a rocky shore. But these vistas prove deceptive in a world that offers no escape, no distance to run into. Imagine Father Ted's Craggy Island as a benevolent dictatorship: Goto III frolicking on the beach in full uniform is oddly reminiscent of Bishop Len Brennan's holiday video. His adulterous wife Glossia, a mix of Garbo gloom and Buster Keaton stiffness throughout, is more the hapless marionette than ever in rugged nature. Clearly she will never make it out to sea, and escape from the island.
Meanwhile, we follow arriviste crim Grozo's ruthless ascent from dog-minder and fly-catcher. Scenting success, he lets out the dogs and we see them bounding through a tiny door into the light, down to the sea. The camera follows them a little way in a rare moment of exuberance, but finally leaves them in the inconsequential distance, bounded by the sea, framed by the viewfinder of the door. Grozo's ambition has never risen higher than to be a hound with its muzzle in Glossia's lap. Even his treason is subservient, obeisant to the machine, and his moment of success brings not even the limited freedom of a dog. He, more than anyone, is caught up in the 'manège'; that is to say 'riding school', but also 'machination', and 'merry-go-round'. Through the objective lens of the wryly named animator, it's just a complicated game. Where a dictator is chosen by a round of spin-the-shoe-last, the only revolution is the turning of the machine.
Stephen Thomson

redpajama_set_name: RedPajamaCommonCrawl


text:
Mandala Multifinance - Best Stock in Multifinance Sector
About a year ago, Bank Indonesia (BI) as the monetary authority of Indonesia announced a rule related to minimum down payment (DP) of 20% for purchasing of motorcycle, and 30% for car. Prior to that, finance companies were aggresive in disbursing their loan, in which a buyer was able to buy a motorcycle at a price of US$ 1,200 after paying US$ 40 only as down payment. BI saw that this could provoke a bubble, so then they issued the rule of minimum down payment as mentioned earlier.
From the perspective of economic development, the purpose of the rule is clearly to avoid the bubble. However, from the point of view of the finance company, this policy would reduce the number of customers, and ultimately lowers income. Consequently, most of the stocks in the multifinance sector were dropped in the last year. Perhaps the most visible is Adira Multi Finance (ADMF), which has been dropped 25.8% in the last year.
But after my discussions with friends who work in this field, I conclude that the effect of the BI rule was only temporary. At the very beginning, the customers were shocked when they find out that they can no longer buy a motorcycle by paying the down payment of US$ 40, but it must be US$ 200 – 300, so the number of motorcycle purchases were immediately reduced. But after some time everyone is getting used to, and the number of motorcycle purchases (by credit) are gradually increase again. The fact is, that DP of US$ 200 – 300 is not a large money, is it? Even a young worker with a salary of US$ 250 per month could pay the money, as long as he is willing to save some of his salary for about six months. Similarly with car, which the middle class people should be able to understand that a DP of US$ 2,500 – 3,000 for a Toyota Avanza (which priced US$ 15,000) or the like is reasonable.
Then how about the current performance of the finance company after BI applied the rule of minimum DP, a year ago? Well, it was still quite good and still growing too, although not as fast as before. Throughout the first quarter of 2013, nine finance (or financing) companies in the Indonesia Stock Exchange recorded a total net profit of Rp685 billion, increased 6.3% compared to the same period in 2012. But because the stocks itself has dropped substantially in the last year, then its valuation is relatively low with an average PER of only 6.9 times. Here's the details:
Price (Rp)
PER (X)
net profit (%)
equity (%)
ADMF
BFIN
BBLD
WOMF
VRNA
HDFA
Prices as of May 7, 2013
Figures in the columns of net profit and equity are the growth of net profit and the growth of equity, respectively
Growth of net profit of WOMF is written NM (Not Mentioned), because in the period of 2012 the company had a loss
There were at least thirteen financing companies listed on the Stock Exchange, but the table above shows only the companies with assets of more than Rp1 trillion (US$ 100 million). Data sorted by company's value of assets, from the largest (ADMF), to the smallest (TIFA).
Here are the full name of each companies: Adira Multi Finance (ADMF), BFI Finance (BFIN), Clipan Finance (CFIN), Mandala Multifinance (MFIN), Buana Finance (BBLD), Wahan Ottomitra Multiartha (WOMF), Verena Multi Finance (VRNA), HD Finance (HDFA), and Tifa Finance (TIFA).
Well, after looking at the table above, which stocks do you think the most attractive? That's right, Mandala Multifinance (MFIN)! In terms of profitability, MFIN is one of the best compared to eight other companies, with ROE 27.6% and ROA 6.9%, respectively. But on the other hand its PER was only 3.8 times. The good news, corporation's historical performance is also fairly consistent. Here's the data, numbers in billions of Rupiah:
CAGR (%)
In terms of dividend distribution, MFIN paid dividend of Rp41 per share for the fiscal year of 2011, which reflects 5.4% of yield on a share price of Rp750 per share. The yield figure is the second best in the finance sector behind ADMF, which recorded a yield of 8.2% for the same year. However, if we consider that the asset size of MFIN is far smaller than ADMF (Rp3.8 versus 26.9 trillion), and MFIN had its net income rose 29.0% MFIN while ADMF' net income slipped 7.5%, then MFIN is obviously more interesting to buy, at least for now.
About the company, MFIN is a finance company which specialized in motorcycle financing, particularly Yamaha motorcycle (and Honda as well, but only slightly). The company is a subsidiary of Lautan Teduh Group, a Yamaha motorcycle dealer for the region of Lampung and West Java, which has been operating for over 20 years. Although its parent company only operates in Lampung and West Java, but MFIN already operates in 25 provinces in Indonesia, with the number of branch of more than 200 offices.
So what are the plans for business development? Unfortunately, it seems that MFIN' management is a conservative type who do not have any expansion plan. But if you look at their consistent track record in the past, then it may not really matter.
Although this MFIN is seems attractive, there are few more things that you should consider if you are interested to invest in this MFIN, or any other motorcycle financing companies. First, the sales of motorcycle in Indonesia for the year 2012 was 7 million units, down about 11% compared to the previous year. Unfortunately, based on prediction from the Indonesian Motorcycle Industry Association, in 2013 the sales of motorcycle in Indonesia is expected to fall further to around 6 million units. One cause is because the Indonesian economy continues to increase, which many people are switching from motorcycles to cars. Throughout the year 2012, the sales of car in Indonesia had hit a record of 1.1 million units. That number grew significantly compared to the year 2011, which only 894 thousand units.
Second. MFIN obtain almost all their funding from bank loans. Of the total liabilities amounted to Rp2.9 trillion, Rp2.6 trillion of which were bank loans with interest of 11 – 12.5% per annum. I think that these rates are quite low, but could become higher because at the time (first quarter of 2013), the BI Rate was only 5.75%. If the later the BI Rate was increased to reduce the rate of inflation (because if the government raise the price of subsidized fuel, the inflation rate will certainly rise significantly), then th bank rate is also likely to rise, and eventually will depress MFIN' net income, because MFIN can not raise their interest to customers as the rate were already very high, amounting to 25 – 41% per annum.
Maybe that's why the management of MFIN has trying to obtain alternative sources of funding by issuing bonds in June 2012, which bear interest of less than 10%. Unfortunately, the company only get proceeds of Rp100 billion (about US$ 10 million) only from the bonds. Thus, although MFIN had a fairly good performance in the first quarter of 2013, but I was not quite sure that the good performance will continue in the upcoming second quarter.
In conclusion, if you are really interested in this stock, then use only a small portion of your asses, because the shares are also not very liquid. If we look at the charts in the long run, MFIN has gained of more than seven-fold since the 2008 global crisis, but its peak was at 1,230 in mid-2011, before then continues to drop until today because of negative sentiments which we've discussed above. On the other hand, MFIN is the cheapest stock in the sector, making it a good choice for those of you who are value investors, as the risk is already limited.
PT. Mandala Multifinance, Tbk
Rating of Performance in Q1 2013: A
Rating of Shares at 750: AA
Original article was written at May 7, 2013
Toba Bara Sejahtra: Return of Coal?
Identifying 'Fake' Account on Financial Statements
Top Ten Largest IPO in Indonesia
Time for Oil Palm Plantation Stocks?
Bakrie: Still Believe?
Jokowi, ARB, or Prabowo?
Mandala Multifinance - Best Stock in Multifinance ...
Learn from Case of Investment Fraud
Greek Debt Crisis, and Its Effect
Semen Gresik and Indocement: Outlook
Krakatau Steel: Development Updates


text:
Q: Counting road intersections and blocks I have a shp file that consists of the road system of Mexico City. I would like to count the number of road intersections (crossings) and blocks (which I would define as a segment starting from one intersection and ending in another). This within a buffer of a certain size: a circle centered in a polygon within another shp file.
I am mainly using ArcGIS but am quite familiar with R, Python and QGIS if the solution is simpler on any of those. I realize their are a few similar questions around here but havent been able to use any of the information provided there.

A: There are a few ways to do this.  For the intersections you can use a tool in QGIS (Arc I am sure too) called Line Intersections (Vectors - Analysis Tools).  As for the blocks, what I have done for that is to have a polygon of the AOI which covers the entire area.  Then I use the roads to cut that polygon into polygon segments.  This will give you blocks of polygons that have the roads as the boundaries.  To do this, I have used XTools or ETGeoWizards in ArcMap.

A: Try running the Intersect tool in ArcGIS with a single input (the roads) and the output type as POINT; this should give you the number of intersections.  As far as the number of blocks, this is just a count of the line segments, if you need to "break" each segment at an intersection look into the Planarize lines feature on the topology toolbar.

A: Considerations
First thing to consider, you might remove freeways and ramps from your road system before you start, depending on your interpretation of a block or intersection.
First problem is knowing the state of your road system. If road centerlines are split at each intersection and only at intersections, then we proceed with Features Vertices to Points. This would mean that roads do not break at underpasses and overpasses. Under this method, you use your original road system for your road segments.
If road centerlines are not split at all (e.g. routes) or if they split at places other than intersections, then you will have to run Unsplit Line on the entire system first and proceed with the Intersect method. This method will, unfortunately, break the roads at overpasses and underpasses. You could manually fix these if you have knowledge of where they are.
Feature Vertices to Points Method
Run Feature Vertices to Points(Data Management - Features). Input is your road network, Point Type is Both_Ends. This will create a point layer corresponding to the endpoints of each road segment. An intersection will have one point for each road that ends at that intersection.
Using your output from that tool, run Collect Events (Spatial Statistics Tools - Utilities). This will collect those multiple endpoints at an intersection together and count out the number of endpoints at each intersection
Take your output from Collect Events and delete all events with an ICOUNT < 2. These points are dead ends. This will leave you with an intersections point layer now (where ICOUNT is the number of road segments that intersect).
Intersect Method
Run Intersect (Analysis - Overlay) with only your road system as your input features. Set the output type to POINT.
This will give you your intersections and only your intersections (no dead ends).
To ensure that your road system is properly split at your intersections, also run Split Line at Point (Data Management - Features) on your road system. Use the output from this tool as your road segments.
Removing Dead End Segments
Based on your definition, a road segment that dead ends is not a block. If you do want to count road segments that dead end as blocks, you can skip this section and just use your road segments as your blocks.
Run a Spatial Join (Analysis - Overlay). Target features are your road segments. Join Features are your intersections. Join Operation is JOIN_ONE_TO_ONE with Keep All Target Features unchecked. Your output is the road segments, where join count is the number of intersections for that segment. You should only see values of 1 or 2 in the joint count.
Delete all road segments in the Spatial Join output with joint count of 1. These are dead end road segments. Any segment with a count greater than 2 needs to be check; you should not have these. All segments with join counts of exactly 2 are blocks by the definition you provided.
Selecting Blocks or Intersections
Now you have one layer with just your blocks (if you included dead end blocks, you can use your original road system) and another layer with just your intersection.
To find out how many blocks are in your buffer area, use Select Layer by Location (Data Management - Layers and Table Views) or the Select By Location... tool using your blocks layer as your target and your buffer as your selecting features or source.
To find out how many intersections are in your buffer area, use Select Layer by Location (Data Management - Layers and Table Views) or the Select By Location... tool again, using your intersections layer as your target and your buffer as your selecting features or source.

A: As a footnote to this and a shameless author's plug, the free sDNA (spatial Design Network Analysis)  plugin for ArcGIS can do this, among other things that may be of interest to you.
You would first need to ensure your network was correctly noded (i.e. all lines breaking where there are junctions; Topology->Planarize can do that).

A: You can use network tools.
It can create the junctions, and convert the junctions into point shpfile.
After getting the point shpfile, all you have to do is knowing count of points.
As for the blocks, just count the line segments.


text:
12th European Public Health Conference - Marseille, France - EuroHealthNet plenary
20 November 2019 to 23 November 2019
12TH EUROPEAN PUBLIC HEALTH CONFERENCE (EPH)
The annual EPH conference is the largest public health event in Europe, with delegates including researchers, policymakers, practitioners and educators in public health and many other related fields.
The main theme of the 12th EPH conference, held in Marseille (FR), is "Building bridges for solidarity and public health". The conference will address:
Building bridges migration in a planetary context.
Solidarity for public health – integrating poverty, conflict and other threats to health.
How can the Sustainable Development Goals contribute to the challenges of changing populations?
New roles for public health practice.
Building global bridges between public health communities.
More information are available here
To register, click here
EuroHealthNet closing plenary session: Social inequalities and migrant inclusion in urban settings: a call for changing public health practice
Saturday 23 November, 09.40 - 10.40
EuroHealthNet will host the closing plenary session of the European Public Health Forum in Marseille this year. The plenary session will be on 'Social inequalities and migrant inclusion in urban settings: a call for changing public health practice'.
More than half of the world's population now lives in urban areas, and urbanisation has significant impacts on the whole of society. Cities are major destinations for internal and external migration alike. Access to services, affordable housing, and quality employment in urban areas are challenges common to all vulnerable populations, including migrants. These difficult circumstances – and rising inequalities generally– have strained social inclusion efforts across Europe. In addition, migration has become highly politicised; fake news is used to undermine trust and divide communities. This leads to increased discrimination and is restricting access to education, work, justice and health. Power disparities lead to health inequalities. In this environment, policymakers, civil society actors, and community advocates must work collaboratively and creatively across sectors to improve health and social outcomes not only for migrants, but for all vulnerable populations in urban environments. How can public health practice adapt to this context to better address the needs of migrants as well as other vulnerable populations? We should move away from describing the problems to work on the solutions. How can we change public perceptions? How can normative agencies and research institutions respond to and support the needs/challenges of public health practitioners 'on the ground' in cities?
This session will attempt to address these and related critical questions, discussing the way forward for health equity and urban and migrant health while highlighting inspiring case studies.
What are some of the key 'myths' about migrant communities, living and working in cities, that must be corrected to facilitate social integration and improve service provision? Are migrants a burden on services (health, long term care, social care, childcare) or contributors? Are they receiving more benefits than contributing in taxes? How to respond to discrimination/racism and stigmatisation?
How do we ensure that urban health and social services are person-centred and founded on the principles of proportionate universality? Given the diversity of migration flows to cities, how do we develop appropriate public services for each group, considering cultural dimensions as well as nurture and build on their existing skills and resources?
What is the role of living and working situations in shaping opportunities and health outcomes for migrants? Can housing, schools, workplaces or urban renewal projects in communities be used to build bridges to other forms of support?
Where is public health failing and what needs to be changed for improved health and wellbeing and reduced inequalities, giving current contexts as described above? What can be done at the European level to address urban and migrant health issues?
The plenary session will see contributions from the following speakers:
Caroline Costongs, Director, EuroHealthNet (moderator)
Bernadette Kumar, Director, Norwegian Centre for Minority Health Research, Research member of the UCL-Lancet Commission on Migration and Health
Santino Severoni, Acting Director of the Division of Health Systems and Public Health, WHO Europe
Lucinda Hiam, GP and honorary research fellow at London School of Hygiene and Tropical Medicine, UK
Maryam Gardisi, Deputy Director, International Psychosocial Organisation (Ipso), Germany
Jean-Paul Moatti, Chairman of the Board of Directors of the Institut de recherche pour le développement


text:
Cappello, Michael, University of Regina (Canada)
Capraro, Karen, Rhode Island College
Carpenter, Penny, Keewaytinook Okimakanak Kuhkenah Network (KO-KNET) (Canada)
Carr-Stewart, Sheila, University of Saskatchewan (Canada)
Carr-Stewart, Sheila, College of Education, University of Regina
Cassidy, Wanda, Simon Fraser University (Canada)
Christou, Theodore Michael, Queen's University (Canada)
Christou, Theodore M., Queen's University (Canada)
Cimino, Christopher, Mesa Verde High School in Citrus Heights California (United States)
Ciuffetelli Parker, Darlene, Brock University (Canada)
Clarke, C. L., University of Saskatchewan (Canada)
Claypool, Tim R., College of Education, University of Saskatchewan (Canada)
Collyer, Vivian, BC Ministry of Education (Canada)
Copage, Katelyn, University of New Brunswick (Canada)
Couros, Alec, Faculty of Education, University of Regina (Canada)
Crandall, Joanie, University of Saskatchewan (Canada)
Cranston, Jerome, University of Manitoba (Canada)
Curran, Mary, Rutgers, The State University of New Jersey (United States)
Curry, Anne (Canada)
Curwen, Tracey, Nipissing University (Canada)


text:
Uphill Climb to Vaccine Awareness Yields Positive Outlook
The Floyd Medical Center COVID-19 vaccination clinic is making great strides toward increased vaccine awareness thanks in no small part to Dr. Anne Cowan who runs the initiative with the efficiency and empathy needed to inform her community. Read more about her motivation in our Profile of Courage story:
Dr. Anne Cowan values the small-town charm, familiarity, and goodwill she feels since moving to Rome, Georgia over a dozen years ago. "Being able to have that personal connection in a small community can really translate into some amazing medical care," she has discovered. "People are able to work with each other on a level that would be difficult in a larger metro area."
Such awareness and collaboration proved instrumental as the anesthesiologist at Floyd Medical Center spearheaded the development of the hospital's Preoperative Evaluation Center (PEC) for which she serves as Medical Director.
The PEC emerged as she recognized an opportunity to enhance the care continuum by filling a gap. "The hospital was doing more complex cases and didn't have the infrastructure to do the kind of comprehensive evaluation necessary to avoid last-minute cancellations and complications," she recalls.
"The organization recognized a growing need for expertise in perioperative medicine and turned to their Anesthesiologists for help. The goal of the clinic was to make the process more efficient for the patient and everyone else, reducing complications and increasing satisfaction."
Plotting the Points Towards Vaccine Awareness
The logistical success of this approach offered a template for managing an unprecedented crisis as the pandemic took hold in early 2020. With Dr. Cowan an active member of a leadership team brainstorming strategies to address everything from optimal PPE to efficient patient-screening to streamlined COVID-19 testing, the PEC assumed an integral role in the Floyd Medical response to COVID-19.
"At the pre-op clinic, we were going to be responsible for all the testing," she explains, "so, in May 2020, we developed a drive-through system adjacent to one of the field hospitals — we have a 20-bed GEMA unit that sits in the parking lot and a field hospital with around 150-200 beds that, thankfully, we've never had to use for overflow."
Following initial vaccine approvals in December 2020, the Floyd team rolled out vaccination initiatives as part of their COVID-19 response. Dr. Cowan sees the Floyd COVID-19 vaccine clinic as a natural evolution of their COVID-19 testing initiatives.
"We began to receive vaccines very early on in this area," Dr. Cowan reports. "We were one of the first to get shipments. It's a massive team effort. We knew we had this vaccine, that we had a good space, and we had some great workflow."
Her team has also been able to contribute solutions to some of the issues surrounding vaccination scheduling. "You're probably aware of stories about people surfing the sites and hitting refresh," she references. "Early on that was a huge deal. We were already using an electronic booking system for scheduling some of our COVID-19 swabs."
"Patient engagement can be so inefficient, trying to reach patients by telephone and the back-and-forth," Cowan details. "We deal with that every day in the pre-op clinic, and we dealt with that with some of the initial vaccine supply, so I shared software solutions which allowed us to connect the people to the vaccine. Collaboration with Floyd's Lean Six Sigma Director Brandi Skeen and Director of Emergency Preparedness Ben Rigas led to a rapid escalation in volume. In the first week we opened we were doing about 25 shots a day, and now we are up to 400-500 a day."
Making a Community Engagement Plan for Vaccination
Dr. Cowan attributes the increase in vaccination appointments to expanded public awareness of eligibility. "We weren't getting the message across as to who was eligible according to the Georgia state eligibility guidelines," she believes. "There could be no national messaging on this because it was different for each state. While I agree with having local solutions to some of these universal problems, there are some unique challenges that poses. It gets confusing for the public."
Confusion often engenders reluctance and uncertainty, harming vaccine confidence and hindering vaccination efforts. "We have a lot of vaccine hesitancy in our area, which means we have a significant vulnerable population who is at risk of getting sick and overwhelming our hospital systems again," she warns.
"We're addressing it one person at a time. We've been micro-educating here — doing a talk for a whole office or talking to a patient for 15-20 minutes, answering all their questions, hoping that maybe they'll talk to friends and then maybe we'll continue to go in the right direction. I think you need a loud, well-respected, powerful voice who is shouting from the mountaintops: 'This is great! This is good, you need to do this!'"
Taking the Plan Forward
She hopes those voices carry far beyond computer networks and smartphones, so rural patients hear important information. "After vaccine education, lack of internet and transportation are probably the two biggest barriers," informs Dr. Cowan. "We have a phone system, and that's almost a full-time job to keep up, but we don't want people out there who want the vaccine to not be able to get it because they couldn't schedule it online."
"We're now getting to the transition point where we're probably going to move away from the centralized large vaccination sites and out to the urgent care and primary care networks," she continues.
"Just to try to spread vaccination initiatives and opportunity over a larger geographic area. I'm hopeful that will help folks who might be able to get a ride to their nearest urgent care when maybe they can't make it all the way over to the hospital."
Her team is also investigating options for community pop-up vaccination events. "We decided that we need to go meet people where they are and it's been working really well," she confirms. "We've gone to our housing authority and gone to our churches and soup kitchens. We've called up folks deeply connected to these populations asking, 'What's the best time, where's the best place, how many people do you think we should ballpark plan for, we'll be there!'" The success of these pop-up vaccine clinics has inspired future plans for continued public health initiatives in collaboration with community partners.
Dr. Cowan's strong history of public health outreach gives her a network to help identify the underserved segments of their community. For several years, she's served on the Opioid Taskforce for the Medical Association of Georgia (MAG) battling the opioid epidemic and addressing its impact.
"In the pre-op clinic we see all kinds of patients," she reflects, "who don't have a primary care physician, who have very difficult circumstances, who are in and out of urgent care … I guess seeing that part of it, outside the operating room, inspired me to use other parts of my medical education to be part of a solution as much as I can."
Increasing Public Confidence in Vaccines
Despite some of the confusion, she glimpses the proverbial dawn on the horizon. Dr. Cowan breathes a cautiously optimistic sigh as she reveals, "We are definitely seeing a sustained decline in hospitalizations. The drive-thru testing that we do for surgery patients is interesting because it tends to give us a heads-up with what's happening in the community. We've been actually using that data, which I tally every week to share with the leadership group, as a litmus test to see what the community spread is in our immediate population. I'm encouraged."
Watching more people take charge of their health and seek out vaccination also sparks joy for her. "I now call that vaccine center 'The 2nd Happiest Place on Earth' because it's next to Disney!" she praises. "It's really uplifting to be part of it. Everyone who is there, wants to be there, from the people working it to the people showing up to get shots. We have people crying tears of joy because they are finally getting a vaccine. We have lots of stories of folks coming in who have lost a parent or sibling or friends and they feel like they can't do anything, but here's one thing they can do. They can get vaccinated. Those types of interactions after the last year… just to be able to be part of this has been a huge morale booster for me. It's kept me going for sure."
California native Dr. Anne Cowan graduated from Middlebury College with a B.A. in Neuroscience before heading to medical school at The Johns Hopkins University. She then went on to the University of Michigan for a residency in anesthesiology.
Dr. Cowan practices anesthesiology at Floyd Medical Center in Rome, Georgia where she also serves as Medical Director of Perioperative Medicine. She and her husband, neurosurgeon Dr. John Cowan, along with their children, also make their home in the Rome area.
Floyd Medical Center
preoperative clinic
By ApolloMD|2021-07-19T19:17:11+00:00June 16, 2021|Clinical Education, Clinician Career Growth & Development, Clinician Lifestyle & Wellness, Clinicians, Hospitals, Practice Management & Hospital Operations, Profiles of Courage|Comments Off on Uphill Climb to Vaccine Awareness Yields Positive Outlook