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Nominate a deserving colleague for mio's 'Sales Progressor of the Year'
Emmeline Gale
mio launches its 'sales progressor of the year'
Sales progression specialists mio are inviting nominations from their clients for their inaugural 'mio Sales Progressor of the Year' award. The award is open to active users of mio who must be nominated by a colleague for a deserving pat on the back for all of their efforts during a particularly turbulent year. The winner will receive an award plus a £200 voucher.
If you've got someone in mind, you can nominate them by completing the short nomination form below and including 200 words on why you think your colleague should win. Entries must be submitted before 20th December 2020 and the winner will then be announced on Tuesday 22nd December – just in time for Christmas.
Emma Vigus, Managing Director at mio commented:
"As we reflect on the unusual year 2020 has been, it's important to look for the positives and recognise those that have truly gone above and beyond to help support their colleagues, customers and businesses. That's why we've launched our 'Sales Progressor of the Year' award to give agents the opportunity to say a well-deserved thank you to the people who've played a key role in making it all happen. I'm looking forward to reading the nominations and celebrating everyone's success."
Click here to nominate a colleague today
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AsianExtractor: Unearthing Accounting Fraud in Asia
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Enter the Asian Capital Jungle
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FTI Consulting (NYSE: FCN)
Moat Report Asia/ Bamboo Innovator
Hanergy Seeks to Reassure Investors on Soundness of Finances
February 2, 2015 bambooinnovator Leave a comment
http://www.bloomberg.com/news/articles/2015-02-02/hanergy-seeks-to-reassure-investors-on-soundness-of-finances
http://www.wantchinatimes.com/news-subclass-cnt.aspx?id=20150130000119&cid=1602
Earlier postings:
(1) Breakneck growth of Hanergy raises questions; The Financial Times, in analysing recent financial statements of the company, has found some unconventional practices behind Hanergy Group's soaring fortunes; Hanergy has been racking up enviable revenues largely through sales between its listed subsidiary, HTF, and itself (Link)
A little-known Hong Kong-listed firm has come out of nowhere to become the world's largest solar-power company by market value. A tight relationship with its parent company should give investors reason to worry whether its time in the sun will last (Link)
(2) Short sellers feel the heat from Chinese solar group Hanergy (Link)
(3) The Convoy Financial-Finsoft-Hanergy connection and aggressive accounting (Link)
byEhren Goossens
(Bloomberg) — Hanergy Thin Film Power Group Ltd., the Chinese solar equipment manufacturer whose market value surged to $19 billion within a two-month period, downplayed a report in the Financial Times that questioned how it reports sales.The company controlled by billionaire Li Hejun said its Beijing-based parent company has already repaid the majority of the $HK13.9 billion ($1.79 billion) it owes for building solar production plants and that the rest will come when projects are finished. It's also seeking to diversify revenue beyond parent Hanergy Holding Group Ltd., the Hong Kong-listed unit said.
"While the company has been relying mainly on the sales contracts with Hanergy Group, the company has recently expanded its downstream photovoltaic power generation business," Hanergy Thin Film said in a statement Friday.
Hanergy's shares rose as much as 0.8 percent to HK$3.64 and were unchanged at HK$3.61 as of 10:38 a.m. in Hong Kong trading today.
The shares of the listed unit have doubled since the middle of November, valuing the maker of thin film solar products at HK$150 billion, or more than four times the market capitalization of First Solar Inc. of Tempe, Arizona. First Solar is the world's biggest developer of solar farms.
The Financial Times newspaper on Jan. 28 drew attention to Hanergy Thin Film's disclosures that its parent company is one of its biggest customers. Nearly all of Hanergy Thin Film's reported revenue since 2010 has been from equipment sales to Hanergy Group, the FT said. The company's 2013 annual report showed that only 35 percent of the contracts with the parent had been settled and that the balance was held as receivables, the newspaper said, citing an analysis of financial statements.
Sales Agreements
Hanergy Thin Film Chief Executive Officer Frank Dai Mingfang told the newspaper the concerns are a result of misunderstanding Hanergy's product line. Friday's statement took a similar stance.
"According to the master agreement entered into between the company and each customer, including the Hanergy Group, the customer will settle the contractual sums in stages according to various phases of the project," Hanergy said in Friday's statement.
Hanergy Thin Film has posted profit for four consecutive fiscal years, according to earnings statements. Net income rose to HK$1.73 billion in the six months ended June 30, from HK$1.44 billion a year earlier, the company said on Aug. 29.
Company executives have also said China's support of clean energy and its plans to expand solar benefits them.
The nation plans to add 15 gigawatts of solar power this year, according to a report last week in the Shanghai Securities News. China installed 13 gigawatts of solar in 2014, according to data from Bloomberg New Energy Finance.
To contact the reporter on this story: Ehren Goossens in New York ategoossens1@bloomberg.net
Is energy tycoon Li Hejun really the richest man in China?
Li Hejun gives a speech calling for improvement in China's solar energy infrastrucure at the third plenary meeting of Fifth Session of 11th CPPCC at the Great Hall of People in Beijing on March 10, 2012. (Photo/Xinhua)
Li Hejun, the CEO of solar panel producer Hanergy, has surpassed Jack Ma, Alibaba Group's founder to become the richest man in China after his company's share prices surged, reports the financial news website of Hong Kong-based Ta Kung Po.
Li's business practices and the source of his wealth are the subject of a lot of speculation, the report said.
Although Hanergy's share price was only valued at 1.45 yuan (US$0.20) on Sept. 19 last year when Alibaba group listed in New York and made Ma the richest man in Asia, the share price since surged to 3.6 yuan (US$0.5) as of Jan. 28 and boosted Li's net worth to over 200 billion yuan (US$32 billion). Ma's net worth, meanwhile, dropped to US$19.5 billion on the same day after Alibaba's share price plunged 3% five minutes after the stock market opened.
Hanergy's CEO started his business empire with a small hydroelectricity station on the banks of the Dong River, in which he invested 10 million yuan (US$1.6 million). The Chinese government offered 0% income tax and value-added tax exemptions to all small hydroelectricity stations in order to break the monopoly held by state-owned enterprises in the energy sector and to counter the effects of a rise in electricity prices, so Li was able to pay off loans in a few years and he then went on to acquire and build small-scale hydroelectricity stations across the country.
In 2002, he managed to obtain 11% of shares in Jinanqiao hydroelectricity station, one of six major stations that Yunnan province was planning by a developer called Jinshajiang Hydroelectricity Development. The paper said that the 6 billion yuan (US$960 million) a year that the station generated became the foundation of Li's wealth.
He remained a relatively unknown figure until he forayed into the solar energy sector in 2009. Li ambitiously pledged to raise his company's output to reach 3GW by 2012 and later 10GW, making Hanergy China's largest thin film solar cell maker.
Wang Xiaokun, an analyst with Chinese market information service SCI International, said Li's ambitions weren't in line with demand, however, and China has not been able to find a buyer for its 13GW of electricity that it intended to export to Europe, which has only able to take 7GW.
The businessman has been repeatedly accused of falsifying his business data. China's National Audit Office in June 2012 said Li's GW solar factory Dong Hanergy Solar falsified its scale and installed capacity to obtain a 2.6-million-yuan (US$421,000) government subsidy. Hanergy said the scale and capacity were limited by the factory's physical conditions so it relocated some of the factory's installed capacity and returned the subsidy in December of the same year.
Since 2010, Li has also been entangled in legal disputes. His Huantian Hydroelectricity Station destroyed and flooded a 3000-square-meter winery and nearby fields and villages several times. The company agreed to compensation of 3 million yuan (US$480,000) for the winery after local government mediation. However, after paying 1 million yuan (US$160,000), the winery's owner accused the station of demanding that it exchange its 13,330 square meters of land for the remaining compensation. The villagers whose farms were destroyed in the flood have not received any compensation.
Li drew controversy in the solar energy sector because of his business model, the technology he uses and his marketing strategies. He was not particularly early in entering the industry, nor are his factories dramatically larger in scale than those of his peers, but he chose to enter the sector with thin film solar cells, which have a higher technological threshold than photovoltaic cells. So far only US' First Solar has been able to develop advanced film solar cell technologies and manufacture them on a large scale.
Although Hanergy said it has "the world's largest output and most advanced technology," it has never been listed on the solar module shipments rankings. The paper said that this suggests Hanergy has falsified its data or that its capacity utilization has been low. Its so-called advanced technology came from its acquisition of Mia Sole, a US producer of thin-film Copper Gallium Selenide solar cells and panels. However, Hanergy has never published the technology's cost per watt, which has been a major indicator of solar energy companies' performance. If a company were to raise the conversion efficiency of solar cell technology–the percentage of solar energy converted into electricity–costs would still be high.
Yet Li has been able to use marketing strategies to boost Hanergy's reputation. Electric car brand Tesla built two solar-power charging stations in Beijing with Hanergy's thin-film flexible PV system in April last year, according to PR Newswire. The Chinese company also sponsored an international electric car race to boost its profile.
The Hong Kong news outlet also suspects that Li has falsified his net worth. Although he was named the fourth richest person by Forbes China in 2013 with 6.6 billion yuan (US$1.1 billion) in assets, estimates of the percentage of shares in Hanergy owned by Li are put variously at anything from 50% to 97%. Hanergy, which claims a high output, also made suspicious financial moves at the end of 2013, borrowing 520 million yuan (US$83 million) from four financial companies with its 5.1 billion shares as collateral.
Li's 200-billion-yuan (US$32 billion) thin-film solar energy development project received a total of 50-billion-yuan (US$8 billion) in funds from China Development Bank, Minsheng Banking Corporation and the Asia Financial Cooperation Association in 2011 and 2014. The funds were given to Hanergy in order to support the Chinese firm's overseas development, in the hope it can introduce advanced solar energy technology to China.
← [Flashback] How to encourage the right kind of whistleblowers
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Guest Speaker Mr. Hemant Amin, Founder, Chairman and CEO of Asiamin Capital, a single family office, and Founder and Chairman of the BRKets investor groupMarch 17, 2015
Hemant, a big thank you for educating and inspiring the next generation of leaders. You are a rare positive role model in the Asian capital markets and you showed the students that it is possible to create value because one has the right values and mindset like Buffett and Munger! :)
Guest Speakers from FTI Consulting, a billion-dollar NYSE-listed global forensic consulting firmFebruary 9, 2015
Thank you very much, Jarrod and Jason, for taking time to share your knowledge and wisdom about the meaningful and fulfilling forensic work that you do at FTI Consulting.
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Presentation to MAS: A World's First Fact-Based Forward-Looking Fraud Detection System for Singapore
Bubbles and troubles in Hong Kong: Ongoing abusive "open offers" and placings making out in multi-billion-dollar bubbles. David Webb calls on regulators and rule-makers to take action. Hong Kong deserves better if it wishes to make a claim to be a world-class financial centre
Hao Wen, Capital VC and Unity; questionable cash investments at extremely high valuations which link together 3 listed companies. David Webb urge the SFC's corporate misconduct team to investigate
Aim's Chinese disasters offer cautionary tale for chancellor
Police in Taiwan are investigating the whereabouts of the chairman of a listed company on bail awaiting trial in Hong Kong for fraud, after reports he was abducted in New Taipei City; Missing chairman sees Pearl Oriental shares plunge 15pc
CFOs see earnings shenanigans in 20% of U.S. public firms
A February takeover bid for Barnes & Noble that sent the bookseller's stock soaring was fraudulent because the firm behind the announcement lacked funding to do the deal, the SEC said
Fanya Exchange's 36 billion yuan default 'tip of iceberg' in China; China investors in rare protest accuse regulators of "ignoring fraud"
Oligarchs and Orchestras: Inside Luxembourg's Secretive Low-Tax 'Fortress of Art' Warehouse; Fraud allegations against Swiss entrepreneur Yves Bouvier, have cast a shadow on Luxembourg's and Singapore's Le Freeport, a high-security, low-tax warehouse for art
Sebi may impose floor price for stock splits to curb market manipulation
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Music docuseries '1971: The Year That Music Changed Everything' gets official trailer ahead of May 21 premiere date
Evan Selleck ∙ May 11, 2021
Sometimes Apple TV+ projects get a quick turnaround from announcement to premiere date. Others, not so much. Thankfully for anyone who's a fan of music documentaries, there's a new option that falls into the former category.
We first heard about 1971: The Year That Music Changed Everything last month, with Apple confirming the documentary series would premiere on Apple TV+ on Friday, May 21, 2021. At the time we got plenty of information for the upcoming limited series, including the premiere date, a title image, and the synopsis. But we didn't have a trailer to share at the time.
That changed today, with Apple TV+ sharing the official trailer for the docuseries.
It measures in at just over two minutes in length, so it's pretty straightforward. There's plenty of footage from the titular time period, focused primarily on the "innovation and rebirth" of the musical landscape during that time.
From Apple:
In a tumultuous era, 1971 would be a year of musical innovation and rebirth. Fueled by the political and cultural upheaval of the time, fresh talent exploded onto the scene, stars reached new heights, and boundaries expanded like never before.
The documentary series will include eight episodes in total. In that runtime there will be never before seen footage of artists like The Rolling Stones, Marvin Gaye, Aretha Franklin, Joni Mitchell, The Who, and many other bands and artists.
The trailer includes songs from The Who ("Won't Get Fooled Again") and Marvin Gaye ("What's Going On").
Are you checking this one out once it premieres later this month?
Tags Apple Apple TV Apple TV+ Entertainment Hollywood News Streaming


One of the best pieces of advice I have ever come across for being productive was to 'finish'. Simply put, it means no multi-tasking. Complete a task before moving on to the next thing. Don't leave projects unfinished. Don't stress. If you start it – finish it!
And this really is brilliant advice. Multi-tasking by its very nature is counterproductive. Things just do not get finished. Instead of one or two finished jobs at the end of the day to cross off of the To-Do list, you are left with several half-finished jobs and more anxiety for tomorrow.
So by taking the time to 'finish' a task, we eliminate it completely. The chore is done and we can move on to the next thing. We don't have to be busy. Just focused.
And while this is, as I said, very good advice, it is also somewhat bad advice.
The need to finish is teamed with the idea of success. We can all fall into the trap of believing we have failed in some way by not having things finished yet. It puts strain on our energy, it makes us feel depressed when things don't get done.
And for what? The satisfaction of a tick next to a To-Do box?
So let us weigh up the pros and cons. Image your laundry basket is overflowing. You've come back from a two week holiday and everyone in the family has dumped things in the hamper ready for the washing. It is a nightmare. There are loads and loads of clothes. Mixed colours, fabrics, the bedsheets you put in before you went away, not to mention chlorine soaked swimsuits and smelly socks about to go crusty. Yuck!
Now, realistically, are you going to finish that in one day? And I mean really 'finish'. No half was done, it's gone through the washer, some of it is on the line, the rest in the dryer or crumpled into a basket ready to be put away or ironed tomorrow. When I say 'finish' for this task I mean empty hampers and everything folded, put away or hung up in the wardrobe.
The answer is no. Simple. It is no.
The average wash cycle is roughly two hours. The reason; for a decent economic wash you need to allow for your detergent to soak in, to take effect and for the gradual heating of the water so as not to shrink or damage your clothing, but instead to give it a perfect clean. Now some of you may disagree and put load after load on a 30 minute refresh. That's up to you, but after two weeks trapped in a suitcase the underwear you wore on the flight out is going to be pretty ripe. Best give it a proper wash.
So now lets to the maths. Say four members of the family. An outfit every two days, plus a set of sleeping attire and swimwear. Not to mention the bedsheets. On estimate, that is around 148 articles of clothing!
At a push, you can maybe get forty items in a load, depending on the size of your machine, but taking into consideration different materials and colours you probably won't be cramming it. Even if we are generous and say three loads, white, darks and colours. That is still a minimum of 6 hours wash time. Add at least an hour per load for tumble drying. That much washing is going to take two hours to iron and even if you don't iron, every basket still needs to be folded, distributed amongst cell mates and put away. And that's without doing anything else other then washing all day long. I don't know about you, but I have a life!
It is not always possible to finish things. It would be nice for sure, but not always possible.
But there is good news. If broken down that vast mountain of laundry is not only done swiftly but with ease. A load a day will not only help reduce the mountain but keep it at bay. A load a day can be washed, dried and folded no problem. A load a day is manageable. A load a day can be 'finished'.
As with this extreme example, the art of breaking things down can be applied to anything and everything. Why think of the washing as one big job? Break it down to wash, dry, put away. Three jobs, all of which can be finished and give you a sense of achievement.
Who has kids or even when they themselves where a kid came across the conundrum of too much homework? The essay is too long, I can't keep up with my assignments, I have no idea where to start. Break it down. Intro, point, example, explain, repeat, conclusion. It's all relevant, all a separate task that you can apply the 'finish' rule to, but that curbs the stress yet breeds success.
If you are writing a book you absolutely will not get it finished all at once unless you are either a wizard or on crack. So you break it down. You do the research, you map out characters, you write a plot outline. Then you go chapter by chapter until you either have a first draft or a stroke. Then you edit. You still scheduled and you still 'finish' but all in its own time. Section by section.
And it really is an art, to break things down and make them simpler. I don't know just how many times I have started my day, planned my day out and thought 'I am going to finish everything on my to-do list today' and then it doesn't happen. Things take longer to complete. I did not plan for everything. I overestimated.
Give yourself a break. When it is impossible to 'finish' something in one day, break it down. List the things in your head or better yet on paper, and work out what needs to be done to finish the project. By breaking it down you eliminate your chances of failure, you give yourself reassurance that the task will be completed while at the same time, permission to not get everything done all at once. Don't even try to do 'everything' because you will hurt yourself!
Breaking things down into a process evens out the scoreboard. Yes, it seems scary because your To-Do list looks a lot bigger but that is not necessarily true. The job will still take the same amount of time, but the quality of your work will be better. It will be relaxed not rushed. Instead of aiming for 10,000 words a day of utter rubbish, break it down to a 1,000 or 500 daily word count. The book will still be written in 3 months! Yes, that is right. And your editing process will be smoother for it. The same goes for the laundry. Just one load a day means your days off work are not taken up with mountains of 'things that need doing' but instead, can be spent with, frankly, less resentment.
And success does breed success. Think of the motivation. All these mini-tasks being completed will give you need the drive to go further, without bogging you down with worry.
So why not give it a go and see if breaking things down works for you. If so let me know in the comments below. It is always a pleasure to hear from you.
While in college, I found another added motivation to break tasks down is that you feel more accomplished crossing things off in your planner!
Very true! It really does help you keep your motivation whilst avoiding burnout!


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An Interview With Polish Group, DADDY'S CASH on Bringing People Together Through Their Music!
Tag: All Access, All Access Music Group, Artist Interview, Berkeley, Bruno Mars, Daddy's Cash, Good Morning, Hello, IHeart Radio, iHeart Radio Digital Artists Integration Program, James Brown, Justin Timberlake, Looking For A Way, Michael Jackson, Poland, Prince, Sirius XM, The Fantasy Studios, This Is My Party, We Will Never Know
Made up of Łukasz Belcyr, Wojciech Inglot, Michał Jasiczek, Michał Borowski, Łukasz Wiercioch, and Jędrzej Jasiczek, Daddy's Cash is the latest group to break out of Poland and enter the US market.
Founded in 2010, Daddy's Cash uses influences from American Jazz, R&B, Soul and Funk to create unique music. The ensemble includes a wide range of instruments such as a brass section, guitars, keyboards, harmonica and percussions. It allows the band to have great flexibility within their repertoire and opens many avenues for expanding into new styles of music. Experimentation has always been ignited by the joy of playing together and resulted in many amazing musical improvisations.
Learn more about Daddy's Cash in the following All Access interview:
Q: Thank you for your time! Where does this interview find you all today?
We are currently in San Francisco. We just got back from The Fantasy Studios in Berkeley where Daddy's Cash is working on our new album, "Looking For a Way".
Q: So, what's it like being in a band with 9 other people? How do you all travel together along with your 13-piece band?
Having so many people in the band is great! We're always having a great time together and we can easily create an atmosphere in which we all have fun. In the age of electronic music, the only friend you can have is your computer. Therefore we decided not to be like most of the modern artists out there, but create a band, that plays live music, with live musicians being great friends at the same time. Because being in a band isn't just about making music, but it's about being a part of a family. And that's exactly what Daddy's Cash is to us. Because we're such a huge band, we invested in an old style bus to get us from place to place! We like to make a big impression wherever we go, so having an old school bus is very novel and unique, considering it's not like one of those big touring buses you see on the highway!
Q: How did you all meet and decide to start this group? Where did you come up with the band name? What other names were you considering? Can you remember the moment when you decided that this was something you could all do for a living?
We are basically a group of best friends. And the decision to start playing as a band was quick and easy. That is what makes us all happy and music is our lives. After a while you become a family because music connects us so strongly.
Everyone in the band has a huge love for music and a palpable need to express themselves. It all started quite innocuously, but as the band grew, so did our insatiable need to us share our music with the masses.
The band name came from the very beginning where we couldn't afford all the instruments that we needed and had no place to really rehearse.. That's reality. We were so lucky to find a person that would invest some money in us when we were basically doing our first steps as a band.. and didn't even have a name. So because one of our musician's dad helped us so we realized that without literally daddy's cash we would never have the opportunity to start our career. To show our gratitude we decided to name our band Daddy's Cash. We never even thought of other names really. It just happened on the spot and we really liked it.
Q: Tell us about your latest album, "Hello". What does it feel to release it and really promote it here in the United States? How is the album the story of a single day?
We are so excited to release our "Hello" album! Our newest record is our proudest achievement. And to know that we are actively and voraciously promoting our music in the United States means the world to us. We all realize that if you can gain traction in the United States, the rest of the world will follow.
The idea of showing a story of a whole day in our album was special. We just wanted to connect every song with the others and allow them to make sense as a whole CD.
Q: What songs on "Hello" are you particularly proud of? How do you handle songwriting in the group?
We really like "Hello", "Good Morning" and "This Is My Party" but the beautiful thing is that they only make sense when next to other songs and as a part of a day in the "Hello" album. Songwriting is easy. Well, it's not easy, but everybody knows what to do and has his part in the song creating process
Q: How do you hope to inspire people with your music?
We hope to inspire people with our live instruments. We want to show how much work we put in our music to make it sound the way it does and that Hip Hop and Pop music can be played live. We are extremely ready to play live, and we always wait for the first opportunity with fingers crossed. Nowadays with the world in such turmoil, music has become the antidote and the salve for which the human race can heal, move forward and feel the love and joy they deserve. There is no doubt about it- Everyone on this planet is doing all they can to avoid pain and death, while simultaneously searching for love and joy. We hope our music can be a path for people to embrace the latter, and stave off the former!
Q: What musicians have inspired the band's music? Who are some of your all-time favorite artists? Who would the band love to work with in the future?
There are so many artists that have inspired the musicians in our band. Every each of us has his own idols. But as a band we admire the amazing work of Michael Jackson, Prince, James Brown, Justin Timberlake and Bruno Mars. It's generally people that play with live bands.
Q: How has your music been welcomed here in the United States? How has Sirius XM and iHeart Radio been helpful in your US exposure?
We are really happy to have a tenacious promotional push for our music. And the fact that we are already receiving airplay on Sirius XM and also chosen for the iHeart Radio Digital Artists Integration Program is amazing.
Our first single released last year in the U.S was "This is My Party" and received major support from Sirius XM and a lot of radio stations across the country. We are super thankful to American radio and are really happy with what we have achieved as new independent artists so far. We hope our second single "We Will Never Know" will go just as far or perhaps do even better!
Q: Is there anything else that you would like to share with our readers about Daddy's Cash?
We do have a lot of energy in our band. We are so ready to share it with anyone who is willing to listen. We have spent hours, days, weeks, and months rehearsing and recording in order to create the "Hello" album. We do sincerely thank all the radio stations that support us and help us with promotion in United States!
Please also support us on Facebook, Twitter, Youtube, Instagram.. If you like what we do, please "share", "like", "subscribe" and "comment". We love our fans all around the world and hope to see you as soon as possible live on stage!
GREED(Y) IS GOOD: JASON HEATH & THE GREEDY SOULS YIELD BIG RETURN WITH NEW ALBUM A SEASON UNDONE
ERIN DAVIS, Son of Jazz Legend MILES DAVIS Opens Up About His Father's Career and Gives Insight Into Managing His Estate


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Lattice Semiconductor Stock
NEW YORK (TheStreet) - Lattice Semiconductor (LSCC - Get Report ) stock is advancing by 7.40% to $6.75 on heavy volume in afternoon trading on Tuesday, after Intel (INTC) completed its $16.7 billion acquisition of chip maker Altera (ALTR) yesterday.
The transaction could boost Lattice's total addressable market by $300 million to $400 million, CEO Darin Billerbeck told Reuters earlier this year.
"I think within communications and the industrial, we'll see some of the benefit right away, " he said.
The acquisition allows Lattice and rival Xilinx (XLNX) to take a larger portion of the ARM-based market, as Intel and Altera's combined company will likely focus on providing chips for x86 rather than ARM-based processors, Reuters reported.
Additionally, as of June Lattice was at the top of FBR Capital Markets's list for financially attractive deals, Barron's reported.
Lattice is one of a few standalone programmable-chip makers remaining in the industry, and might be open to a sale. "If someone walks in the door and gives us a solid offer at a high premium we are going to consider it, " Billerbeck told Reuters at the time.
Yesterday, Intel indicated that Altera will serve as a model for future acquisitions.
Separately, recently, TheStreet Ratings objectively rated this stock according to its "risk-adjusted" total return prospect over a 12-month investment horizon. Not based on the news in any given day, the rating may differ from Jim Cramer's view or that of this articles's author. TheStreet Ratings has this to say about the recommendation:
We rate LATTICE SEMICONDUCTOR CORP as a Hold with a ratings score of C-. The primary factors that have impacted our rating are mixed - some indicating strength, some showing weaknesses, with little evidence to justify the expectation of either a positive or negative performance for this stock relative to most other stocks. The company's strengths can be seen in multiple areas, such as its revenue growth, largely solid financial position with reasonable debt levels by most measures and expanding profit margins. However, as a counter to these strengths, we also find weaknesses including deteriorating net income, disappointing return on equity and weak operating cash flow.
Source: www.thestreet.com
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News Update: Global Semiconductor Sales Surge 47% in ...
Jazz Semiconductor is a US based pure-play semiconductor wafer foundry that serves customers targeting wireless, optical networking, power management, storage, aerospace/defense and other high-performance applications. Headquartered in Newport Beach, California...
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Vai alla Homepage del Portale di Ateneo Summer School Mediating Italy in Global Culture
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Here you can find details on all the professors and professionals who have taught at the summer school.
Director of the Summer School and Associate Professor in Television, Università di Bologna
luca.barra@unibo.it
Luca Barra is Associate Professor at Università di Bologna, where he teaches Radio and Television History, Cultures of Television Production and Serial Tv Production, and a former post-doctoral research fellow at Università Cattolica, Milan. His research mainly focuses on television production and distribution cultures, comedy and humour TV genres, the international circulation of media products (and their national mediations), the history of Italian television, and the evolution of the contemporary media landscape. He is the author of the books La sitcom. Genere, evoluzione, prospettive (Carocci, 2020), Palinsesto (Laterza, 2015) and Risate in scatola (Vita e Pensiero, 2012), co-editor of A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation (with M. Scaglioni, Routledge, 2021), Media-storie. Lezioni indimenticate di Peppino Ortoleva (with G. C. Calvagno, Viella, 2020), Taboo Comedy (with C. Bucaria, Palgrave, 2015), Backstage (with T. Bonini and S. Splendore, Unicopli, 2015) and Tutta un'altra fiction (with M. Scaglioni, Carocci, 2013), and has written essays in various edited volumes and journals. He is editorial consultant for Italian TV studies journal Link. Idee per la televisione and the co-director of SuperTele book series published by minimum fax. He is currently in the board of directors of Italian culture and politics journal Il Mulino, vice coordinator of the second cycle degree in INCOM – Information, Cultures and Media Organization and member of the scientific committee of the Master in Music Production and Promotion at Università di Bologna.
Giorgio Bertellini
Professor of Film and Media History, University of Michigan
Giorgio Bertellini is Professor in the Departments of Film, Television, and Media and Romance Languages and Literatures at the University of Michigan. His main academic interests concern the traffic of films, peoples, and cultural forms between Italy and the U.S. His latest volume is The Divo and the Duce: Promoting Film Stardom and Political Leadership in 1920s America (University of California Press, 2019). He is the author and editor of the award-winning volumes Italy in Early American Cinema: Race, Landscape and the Picturesque (2010) and Italian Silent Cinema: A Reader (2013). His monograph on Emir Kusturica, written in Italian (2011) and English (2015), has been translated into Romanian and, in part, Chinese. He has published numerous essays on questions of geographic, racial, and national space in Italian and silent cinema in dozens of anthologies and journals. He is currently Associate Editor of the Journal of Italian Cinema and Media Studies and co-editor (with R. Abel and Matthew S.) of the University of California Press book series, Cinema Cultures in Contact.
Ellen Nerenberg
Professor of Romance Languages & Literatures, Wesleyan University
Ellen Nerenberg is Hollis Professor of Romance Languages & Literatures at Wesleyan University, where she has served as the dean of Arts and Humanities. She is the current President of the American Association for Italian Studies. She is the author of Prison Terms: Representing Confinement During and After Italian Fascism (University of Toronto Press, 2001), winner of the Howard R. Marraro Prize from the Modern Language Association, and Murder Made in Italy: Homicide, Media, and Contemporary Italian Culture (Indiana University Press, 2012). She is also co-editor of Writing Beyond Fascism (Fairleigh-Dickinson University Press, 2000) and of Body Of State: The Moro Affair, A Nation Divided (Fairleigh- Dickinson University Press, 2011), for which she also served as co-translator. She is editor of the Open Contributions and Continuing Discussions sections of g/s/I: Gender/Sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies, as well as of the Italian Studies Channel on the New Books Network. Current research projects include: Winx Nation: Educare la futura consumista (forthcoming, Rubbettino Editore), a feminist media studies examination that centers on WinxClub, the animated TV series for girls and tweens, its formats, spin-offs, and titanic merchandising empire, and essays on the nostalgic cinema of Paolo Sorrentino, and the North American reception of the tv and literary serials with protagonist Detective Montalbano.
Massimo Riva
Professor of Italian Studies, Brown University
Massimo Riva (Professor of Italian Studies at Brown University) has published on a wide range of topics, including several authored and edited or co-edited books on literary maladies and national identity in the eighteenth and nineteenth centuries, post-humanism and the hyper-novel, contemporary Italian fiction and the future of literature in the digital age. Since the 1990s, his pioneering work in the digital humanities has led to the creation of several projects, including the Decameron Web, recipient of two major grants from the National Endowment for the Humanities, the Virtual Humanities Lab, also supported by a two-year grant from the NEH, the Pico della Mirandola Project, and the Garibaldi Panorama & the Risorgimento Archive. He is the recipient of several fellowships, including a Digital Innovation fellowship from the American Council of Learned Societies. He has recently completed a digital monograph entitled Italian Shadows. A Curious History of Virtual Reality, a project of the Brown Digital Publications Initiative, funded by the Andrew W. Mellon Foundation, to be published by Stanford University Press in 2022.
Marco Cucco
Senior Assistant Professor in Cultures of Film Production, Università di Bologna
Marco Cucco is a fixed-term Senior Assistant Professor at the University of Bologna, where he teaches Cultures of Film Production, Documentary and Experimental Cinematography and History of Italian Cinema. He received his PhD in Communication Sciences at the Università della Svizzera Italiana (Switzerland), and he has been visiting scholar at several universities: City University of New York (USA), Université de Lorraine (France), University of Leeds (UK), and University of Udine (Italy). He has also been adjunct professor at the Université de Strasbourg (France) and at the Catholic University of the Sacred Heart in Milan (Italy). His research interests concern mainly film economics and policy. He wrote papers published by international journals like Studies in European Cinema, Film Studies, European Journal of Communication and Media, Culture & Society. He is author of three books: Economia del film. Industria, politiche, mercati (Carocci, 2020), Il mercato delle location cinematografiche (Marsilio 2013, with G. Richeri) and Il film blockbuster (Carocci, 2010), and co-editor (with G. Manzoli) of the volume Il cinema di Stato. Finanziamento pubblico ed economia simbolica nel cinema italiano contemporaneo (Il Mulino, 2017).
Natalia Riva
Research Fellow, Catholic University of the Sacred Heart
Natalia Riva earned a Ph.D. in History, Institutions, and International Relations of Asia and Modern and Contemporary Africa from the University of Cagliari. She is a lecturer in Chinese contemporary history, culture, and language. She is currently a research fellow at the Catholic University of the Sacred Heart where she is working on the research project "Analysis of the impact of Italian media products on the contemporary Chinese market", part of the Italian National Research Project (PRIN) "Italian na(rra)tives: The International Circulation of 'Brand Italy' in the Media". Her research interests focus on contemporary Chinese culture, society, and politics, on Chinese cultural strategies, soft power, and discursive practices, and modern Chinese.
Claudio Bisoni
Associate Professor of Film History and Gender and Media Studies, Università di Bologna
Claudio Bisoni is Associate Professor and teaches courses on Film History Principles, Semiotics of the Media, Studies on Gender in the Media at the University of Bologna. He is principal investigator of PRIN project Italian Na(rra)tives: The International Circulation of Brand Italy in the Media, which involves a network of four Italian universities (Alma Mater Bologna, Sapienza Università di Roma, Università Cattolica del Sacro Cuore, Università degli Studi du Milano). His research focuses on the relationship between criticism, aesthetics and modes of reception, as well as on North American and Italian cinema of the 1960s and 1970s. His publications include Brian De Palma (Le Mani, 2002), La critica cinematografica. Metodo, storia e scrittura (Archetipo, 2006), Gli anni affollati. La cultura cinematografica italiana (1970-1979) (Carocci, 2009), Elio Petri. Indagine su un cittadino al di sopra di ogni sospetto (Lindau, 2011), La critica cinematografica. Un'introduzione (Archetipo, 2013). He has also worked on new media narrative forms, and edited (with V. Innocenti) the volume Media Mutations. Gli ecosistemi narrativi nello scenario mediale contemporaneo. Spazi, modelli, usi sociali (Mucchi, 2013). His essays and articles have appeared in various edited volumes and journals, including La valle dell'Eden, Fotogenia, Close-up, Bianco e nero, Cinéma & Cie and Fata Morgana, The Italianist.
Giancarlo Lombardi
Professor of Italian, French, and Comparative Literature, College of Staten Island and CUNY Graduate Center
Giancarlo Lombardi currently coordinates the Italian program as well as teaching courses in Italian, Film Studies, American Studies, Women's Studies and Science, Letters and Society at the College of Staten Island and at the CUNY Graduate Center, where he currently serves as Executive Officer of the MA/PhD Program in Comparative Literature. He received his doctoral degree in Romance Studies at Cornell University and taught at the University of Rochester, Middlebury, Rutgers, Smith, and UPenn. He has published extensively on European and North American women writers, Italian film and television studies, cultural studies, and, most recently, on American serial drama. He is the author of Rooms with a View: Feminist Diary Fiction and the co-editor, together with R. Glynn and A. O'Leary, of Terrorism Italian Style and Remembering Aldo Moro, both dedicated to cultural representations of Italian political terrorism. His most recent publication is another co-edited volume, Italian Political Cinema. He is currently finishing a monograph on the rhetoric of fear in Italian television drama from the 60s and 70s, and has just begun working on a new research project on the uses and functions of religion in prestige serial drama from the Global North.
Marco Pedroni
Associate Professor of Culture and Communication, Università degli Studi di Ferrara
Marco Pedroni is Associate Professor of Sociology of Culture and Communication at the University of Ferrara. Formerly he was a Research Fellow and an Adjunct Professor at the University of Bergamo, an Adjunct Professor at the Politecnico of Milan, a Post-doctoral Research Fellow at the Università Cattolica of Milan and an Associate Professor at eCampus University. His research interests focus on cultural industries, fashion media, gambling and the sharing economy. He taught as a Guest Lecturer for several courses and institutions, including the Milano Fashion Institute and the Marangoni Institute (Italy), the London College of Fashion, the Winchester School of Art, the Northumbria University and the Southampton Solent University (UK), the Aalto University (Finland), the Universidad of Sevilla (Spain), the Izmir University of Economics (Turkey). He is author and co-author of several books including, Coolhunting (2010), Moda e arte (2012, with P. Volonté); From Production to Consumption: The Cultural Industry of Fashion (2013); Fashion Tales: Feeding the Imaginary (2017, with E. Mora); Fenomenologia dei social network (2017, with G. Boccia Artieri, F. Pasquali, L. Gemini, S. Carlo, M. Farci).
Stefano Bises
Screenwriter, Head Writer of "Gomorrah. The Series" and "La mafia uccide solo d'estate"
Stefano Bises is a renowned screenwriter for cinema and television, and joined the summer school to present and discuss his work with the students and the faculty. He has a long and important career, working on some of the most important TV fiction titles for both premium and mainstream channels, able to circulate worldwide. He most notably worked on the first seasons of the series Gomorrah (Sky, 2014) and on La mafia uccide solo d'estate (Raiuno, 2016-2018). Other works are: Speravo de morì prima (Sky, 2021), The New Pope (Sky, 2020), ZeroZeroZero (Sky, 2020), Il miracolo (Sky, 2018), Un'altra vita (Raiuno, 2014), Questo nostro amore (Raiuno, 2012), Una grande famiglia (Raiuno, 2012-2015), Tutti pazzi per amore (2008-2012), Squadra antimafia (Canale 5, 2009-2016), Il capo dei capi (Canale 5, 2007), Medicina generale (Raiuno, 2007), RIS. Delitti imperfetti (Canale 5, 2005-2009), L'ispettore Coliandro, Distretto di polizia, La squadra.
Chiara Bucaria
Associate Professor of Interpreting and Translation, University of Bologna
Her research interests fall under the umbrella term of Audiovisual Translation (AVT), in which she has incorporated elements of humour studies and media/TV studies. Specifically, she has been focusing on the perception of humour and other culture-specific elements in audiovisual texts through dubbing and subtitling. In this context, she carried out research aimed at investigating the viewers' perspective on English-language tv shows dubbed and subtitled into Italian. Secondly, she has been analysing issues of manipulation and censorship in the translation process and cultural significance of this process for the target culture audience. Another point of her academic activity involves larger reception issues, focusing on how extra- and paratextual elements move across cultures and how they can potentially impact how a film or TV show is framed. She published Reactions to Audiovisual Adaptation on Social Media: The Case of How To Get Away With Murder (2019); Genetically modified TV, or the manipulation of US television series in Italy (2018); Audiovisual Translation of Humor (2017); Taboo Comedy on Television: Issues and Themes (2016, with L. Barra). Her most recent essays were published in Humour Translation in the Age of Multimedia (Routledge, 2020) and Representing Translation. The Representation of Translation and Translators in Contemporary Media (Bloomsbury, 2019).
Delia Carmela Chiaro
Professor of English Language and Culture, University of Bologna
Born and educated in the UK, she holds degrees from the Universities of Liverpool, Birmingham and L'Università degli Studi, Federico II, Naples. Since 2001 she has held the positions of Professor of English Language and Translation and Director of the Master's Program in Screen Translation at the University of Bologna's Advanced School in Modern Languages for Interpreters and Translators (SSLiMIT, Forlì). In the past she held the position of Associate Professor at the University of Bologna (1995-2001) and at the Faculty of Economics of the University of Salerno (1992-1994). In 1993 she was Visiting Professor at the University of Aberdeen (UK) where she taught Sociolinguistics; in 2007 she held lectures and seminars (by invitation) in Taiwan and in 2008 in New Zealand. She has also been frequently invited to lecture at the University of Innsbruck, Austria. Her main research interests are Screen Translation, Humour Studies and Intercultural Communication. Being a cinema enthusiast and a lover of TV series, she has succeeded in combining her passion with her work by researching what occurs when movies and series are translated and then dubbed and/or subtitled into other languages. She is especially interested in examining what audiences really understand from watching films in translation and in her work she applies methods pertaining to the social sciences, such as focus group interviews, questionnaires etc., to measure audience satisfaction of dubbed and subtitled films.
Massimiliano Coviello
Senior Assistant Professor, Link Campus University
Massimiliano Coviello is Senior Assistant Professor of Film and Media Studies. In 2012 he obtained a Ph.D. in Studies on Visual Representation at the Italian Institute of Human Sciences, Scuola Normale Superiore. He is editor-in-chief of the online journal Fata Morgana Web and he is editor of K. Revue trans-europeenne de philosophie et arts and Carte semiotiche. He founded lavoroculturale.org blog. His research focuses on links between images, witness and memory, Italian cinema and migration phenomena, analysis of film and seriality. He taught at Accademia di Belle Arti di Palermo, Istituto Superiore per le Industrie Artistiche of Florence and Università della Calabria. He has extensively written for important national and international journals. His most recent publications are Sensibilità e potere. Il cinema di Pablo Larraín (Pellegrini, 2017, with F. Zucconi) and Testimoni di guerra. Cinema, memoria, archivio (Ca' Foscari, 2015).
Giovanna De Luca
Associate Professor of Italian and Film Studies, College of Charleston
Giovanna De Luca is Associate Professor of Italian and Film at the College of Charleston, South Carolina. Her research interests are Italian cinema, 20th and 21st century Italian literature, comparative literature, literary and film theory and cultural studies. Her articles have appeared in Filmcritica, Film Comment, Quaderni d'Italianistica, Forum Italicum, Italica, La Tribune International des Langues Vivantes and Journal of Italian Cinema and Media Studies. She is the author of the book Il punto di vista dell'infanzia nel cinema italiano e francese: rivisioni (Liguori, 2009) on the role of children in Italian and French cinema. Currently she is writing a monograph on the cinematic representations of the Mafia, whose tentative title is Harsh Spectacle: The Mafia in Italian and American Cinema. She is co-editing a book about the new Neapolitan cinema. She is the founder and artistic director of Nuovo Cinema Italiano Film Festival: started in 2006, the annual four-day event showcases 13 Italian films, and features guest appearances by Italian filmmakers, actors, and screenwriters.
Michele Fadda
Associate Professor of North American Cinema, Università di Bologna
Michele Fadda is Associate Professor at University of Bologna, and teaches courses of History of Hollywood Cinema, Contemporary Cinema and Cinema and Cultural Studies. His work on film studies has focused on American and international cinema. He published a volume on the relationship between film and literature (Scritture del visibile. Itinerari del "vedere" e del "dire" tra cinema e letteratura, Aracne, 2004), and a study on the aestethic of contemporary film (Il cinema contemporaneo. Caratteri e fenomenologia, Archetipolibri, 2009), and edited books on the golden age of Hollywood cartoons (What's up, Tex? Il cinema di Tex Avery, Lindau, 1998; Il cinema di Chuck Jones, il Castoro, 2001), on contemporary cinema within convergent culture (Corto circuito. Il cinema nell'era della convergenza, Archetipolibri, 2011), on classical American film genres (Screwball & Romantic, Edizioni di Cineforum, 2002; Cose da un altro mondo. Percorsi nella fantascienza hollywodiana anni '50, Edizioni Lab80, 2003; Lo specchio scuro. Percorsi del noir hollywoodiano 1940-60, Edizioni Lab80, 2004), on Japanese director Takeshi Kitano (Kitano Beat Takeshi, Sorbini, 1998) and on Monte Hellman (American Stranger. Il cinema di Monte Hellman, Cineteca di Bologna, 2009). He edited, with Sara Pesce, Lo schermo gigante. Studi in onore di Franco La Polla, Cineteca di Bologna, 2011.
Lina Fruzzetti
Professor of Anthropology, Brown University, and Documentarist
Lina Fruzzetti was born in Italian-ruled Eritrea and, shortly after WWII, and the death of her Italian father, moved with her mother to Sudan, where she attended a Catholic boarding school. She emigrated to the US, where she completed her education (M.A., University of Chicago, and Ph.D. University of Minnesota). She joined the department of Anthropology at Brown University in 1975. Her research focuses on the relationship between kinship, marriage, rituals and the construction of gender in India. The author of four books, Fruzzetti also co-wrote and co-produced five films with her husband, the filmmaker Akos Ostor, including In My Mother's House, on the life of her mother, exploring the memories and repercussions of Italian colonial rule in Africa and the lasting impact of migration and diaspora in both countries.
Veronica Innocenti
Associate Professor in History of Television and Media Marketing, Università di Bologna
Veronica Innocenti is Associate Professor at the University of Bologna, where she teaches History of Television and Film Marketing. She holds a Ph.D. in Film Studies from University of Bologna. She has been a speaker to several national and international conferences and the organizer of some editions of the international conference Media Mutations (mediamutations.org). She is author of books, edited collections and essays. Among others: Le nuove forme della serialità televisiva. Storia, linguaggio, temi (Archetipo, 2008, with Guglielmo Pescatore); Factual, reality, makeover. Lo spettacolo della trasformazione nella televisione contemporanea (Bulzoni, 2013, co-edited with Marta Perrotta) and Media Mutations. Gli ecosistemi narrativi nello scenario mediale contemporaneo. Spazi, modelli, usi sociali (Mucchi, 2013, co-edited with Claudio Bisoni).
Roy Menarini
Professor of Cinema and Cultural Industry, University of Bologna
Roy Menarini is a Professor at the University of Bologna where he teaches Cinema and Cultural Industry and Film and Fashion. He is currently the coordinator of Fashion Culture and Management second cycle degree. He runs the magazine Cinergie - Il cinema e le altre arti. He studies the transformations of digital media, film criticism and film culture. He is the author of different books about the history of Italian cinema and contemporary cinema, and he regularly publishes essays in several journals and edited collections. He recently wrote Il corpo nel cinema (B. Mondadori, 2015) and Il discorso e lo sguardo. Forme della critica e pratiche della cinefilia (Diabasis, 2018). He works together with different newspapers, including Film Tv and MyMovies. He is also a consultant and lecturer at the Fondazione Cineteca di Bologna, as well as for several Master's degree courses.
Celina Navarro-Bosch
Associate Professor of Television Studies, Universitat Autònoma de Barcelona
Bachelor's Degree in Audiovisual Communication from the Pompeu Fabra University (2012), Master's in Audiovisual Communication and Advertising from the Autonomous University of Barcelona (2013) and Doctor in Communication Content in the Digital Era by the UAB (2017). Her thesis focuses on the practices of television industry behind transnational content flows in the United Kingdom and Spain. Currently, she is a Research Assistant of the GRISS research group and Associate Professor of the Department of Audiovisual Communication and Advertising (UAB). She has taught various subjects in the degree of Audiovisual Communication and the Masters of Audiovisual Communication and Publicity and Communication and Digital Marketing related to the methods of investigation in communication, analysis of audiences, audiovisual genres and Management of Digital Contents. She has also tutored Bachelor's and Masters thesis. She has participated in two R & D projects funded by the Ministry of Economy and Competitiveness. Her main lines of research are television studios, emphasizing the study of television streams, and the new forms of media consumption, including the interaction of the audience with audiovisual content through social networks. She has been on research stays at the Center for Research in Film and Audiovisual Cultures at the Roehampton University in London and the Center for Research and Sociology Studies at the University Institute of Lisbon. She has participated in several national and international conferences, among which are several editions of the IAMCR, ECREA and AE-IC.
Federico Pagello
Senior Assistant Professor, University of Chieti and Adjunct Professor, University of Bologna
Federico Pagello is a Senior Assistant Professor at the University "Gabriele d'Annunzio" (Chieti). At the University of Bologna he is in charge of the Audiovisual and Multimedia Laboratories and a member of the DETECt project- Detecting Transcultural Identity in European Popular Crime Narratives (Horizon 2020). Previously he worked as a post-doctoral researcher at the University of Limoges and Queen's University Belfast, and was a visiting scholar at King's College London and Vanderbilt University. His current research focuses on the transnational and transmedial circulation of serial narratives, particularly in the crime genre. He has served as project manager for the European-funded project EPOP: Popular Roots of European Culture through Film, Comics and Serialised Literature (1850-1930) and Co-Investigator for the AHRC-funded Visualising European Crime Fiction: New Digital Tools and Approaches to the Study of Transnational Popular Culture. He is the author of a monograph (Grattacieli e superuomini. L'immagine della metropoli tra cinema e fumetto) and has published articles and book chapters in Italian, French and English.
Valentina Re
Professor of Multimedia Performance Art and Theory and Techniques of Digital Media, Link Campus University
Valentina Re is Professor of Cinema, Photography and Television at the Link Campus University, Rome. She currently leads the national research project "Comizi d'amore. Il cinema e la questione sessuale in Italia (1948-1978)" and is the coordinator of the work package "Project dissemination and communication" within the international project "DETECt. Detecting Transcultural Identity in European Popular Crime Narratives". She has been researcher at Università Ca' Foscari, Venezia, and she is senior editor of "Cinéma & Cie", editor of "Cinergie" and co-editor of "Narrazioni seriali". Her research interests include methodologies of analysis of film and audiovisuals, the relations between cinema/media theories, aesthetics and literary theory, the forms of distribution, circulation and fruition of audiovisual contents within digital contexts. Her latest published books are Streaming media. Distribuzione, circolazione, accesso (ed., Milano-Udine 2017) and Game of Thrones. Una mappa per immaginare mondi (Milano-Udine 2017, ed. with S. Martin).
Giacomo Manzoli
Head of the Department of the Arts and Professor of History of Italian Cinema, Università di Bologna
Giacomo Manzoli is the Head of the Department of the Arts and Full Professor of History of Italian Cinema at the University of Bologna, where he also teaches History of Italian Cinema and Audiovisual Forms of the Popular Culture. He has been visiting professor at Urbino University, Catholic University in Milan and Tonji University of Shanghai, and he has held the course of Modernity Italian Style at Brown University, Providence, USA (2011 and 2017). He directed the Study Program of DAMS, Drama, Arts, Film and Music Studies from 2007 to 2010 and the Master Program in Film, Television and Multimedia Production from 2012 to 2014. He published several monographs and articles in journals and reviews. His current research is focused on the relationship between film industry and symbolic forms in contemporary Italian cinema, especially with regards to the role of public funding in promoting specific aesthetics and politics. He is also member of the board of the following journals: Studi culturali (il Mulino), Bianco & Nero (CSC), The Italianist (Maney), L'avventura (il Mulino), and co-director (with Mariagrazia Fanchi and Tomaso Subini) of Schermi. Storie e culture del cinema e dei media in Italia (University of Milan).
Nicoletta Marini-Maio
Professor of Italian and Film Studies Chair, Dickinson College
Professor Marini-Maio completed her Ph.D. at the University of Pennsylvania, specializing in Italian cinema. She is the Editor of the international open-access peer reviewed journal "gender/sexuality/italy". Her main fields of research are film studies, Italian cinema, and theater, particularly the intersections between politics, gender, cultural representations, popular culture, the narrative mode, and collective memory. She recently published a book on Silvio Berlusconi in cinema. Her monograph on the representation of left-wing terrorism in Italian film and theatre is near to completion. In addition, she is currently doing research on the "decamerotici," a series of movies inspired by Boccaccio's Decameron produced in Italy in the 1970s, and on Le Winx, an international comic strip and video series for young girls created in Italy. She has published articles on Italian cinema and theatre, Italian teaching pedagogy, and technology-enhanced language learning. In these areas, she has also co-edited the scholarly volumes Set the Stage! Teaching Italian through Theater (Yale University Press, 2009) and Dramatic Interactions (Cambridge Scholars, 2011).
Dana Renga
Chair and Professor of Italian & Co-Director of The Film Studies Program, The Ohio State University
Dana Renga researches and teaches on Italian film and media studies, with a focus on television. She is core faculty in The Film Studies Program, and affiliated faculty in The Department of Comparative Studies and The Department of Women's, Gender, and Sexuality Studies. She teaches courses on Italian film and television at both the undergraduate and graduate level and regularly teaches General Education courses. In addition to two monographs, one co-authored book, and an edited volume, she has published over forty articles and book chapters on Italian cinema and television, Italian popular culture, and modern and contemporary Italian poetry and literature. Her most recent monograph from 2019 is called Watching Sympathetic Perpetrators on Italian Television: Gomorrah and Beyond and offers the first comprehensive study of recent, popular Italian television. She is currently working on a book called #castingstardom, a project on casting practices in the US and in Italy.
Marta Boni
Associate Professor of Visual Media and Television, Université de Montréal
Marta Boni is Associate Professor at the Department of Art History and Film Studies of the University of Montréal. She is interested in theoretical and methodological problems related to serial-type phenomena and their mutations in the contemporary panorama of digital cultures, such as TV series, adaptation, transfiction, transmedia, world building. Of these phenomena, she explores narrative complexity and its interweaving with reception practices. She has carried out numerous postdoctoral research projects, notably at Concordia University (Mel Hoppenheim School of Cinema) and at the University of Bologna. She has taught at the University of Paris 3 Sorbonne Nouvelle and at the University of Jean Moulin Lyon 3. She is currently pursuing the research project "TV series in the era of digital culture. Production, distribution, reception and network circulation". She published several books including Formes et plateformes de la télévision à l'ère du numérique (ed., Presses universitaires de Rennes, 2020), World Building. Transmedia, Fans, Industries (2017), Romanzo Criminale. Transmedia and Beyond (2013) and Networking Images. Approches interdisciplinaires des images en réseau (2013). She's responsible of the research group labotele.com, dedicated to audiovisual platforms and connected textualities.
Fred Kudjo Kuwornu
Filmaker and Founder of Do The Right Films Entertainment
Fred Kudjo Kuwornu is a Jewish Ghanaian Italian-born filmmaker and holds a Bachelor's degree in Political Science from the University of Bologna. He is founder of the Do The Right Films Entertainment, a company based in New York City which produces documentaries promoting stories of diversity in contemporary Italy. Parallel to his decade-long work as a producer, Fred has been invited to give lectures in numerous North American universities on diversity and inclusion in Italian media. His productions include the award-winning documentary Inside Buffalo (2010) which won "Best Documentary" at the Black Berlin International Cinema Festival, the documentary 18 Ius soli (2012), which examines multiculturalism in Italy and at questions of citizenship for children of immigrants born and raised in Italy, and the documentary Blaxploitalian 100 Years of Blackness in Italian Cinema (2016), which explores the social issues and complexities of Italy's contemporary society, and criticizes the Italian entertainment industry for being oblivious of non-white Italians. The documentary was screened at the San Francisco Balck Film Festival. Furthermore in In 2020 he was the voice over for the Italian version of the Netflix educational show Bookmarks-Celebrating Black Voices for the episode "Karamo Brown reads I am perfectly designed".
Stefania Antonioni
Associate Professor of Cinema, Photography and Television Studies, Università di Urbino Carlo Bo
Stefania Antonioni is Associate Professor of Cinema, Photography and Television Studies at the Department of Communication, Humanities and International Studies of the University of Urbino Carlo Bo. Her research interests include tv seriality, television studies, branded entertainment, visual studies and advertising. She is author of numerous books including Imagining. Serialità, narrazioni cinematografiche e fotografia nella pubblicità contemporanea (2016) and Pubblicittà. Forme pubblicitarie del moderno (2012).
Paola Brembilla
Senior Assistant Professor, University of Bologna
Paola Brembilla is a Television Studies and Media Industry Studies scholar, with a focus on Italian and US Television. She currently teaches History of Serialisation and Theory and Techniques of New Media at the University of Bologna. In 2015 she earned a PhD in Television studies at the University of Bologna. From 2015 to 2016 she was a post-doc research fellow at the Department of Art of the University of Bologna, with a project centered on branded entertainment and content marketing for the Italian firm Imperial Fashion Group. At the University of Bologna, she is a member of the steering committee for the international conference Media Mutations, for which she co-organized editions 8, 10 and 12. Since 2016, she collaborates with the TV group RTI-Mediaset as a TV analyst. Her research interests include narrative and digital ecosystems, media franchises and vast narratives, cultural economies and cross-industrial synergies in the media field, as well as the international distribution of Italian cinema. On the subjects, she also conducted researches at the University of California - Berkeley and at University of Wisconsin Madison. She authored several publications on the relations between economics and aesthetics in TV series, including chapters, articles and two book, Game of Strategy (with E. Mollona, Giappichelli, 2015) and It's All Connected (Franco Angeli 2018). With I. A. De Pascalis, she co-edited the volume Reading Contemporary Serial Television Universes: A Narrative Ecosystem Framework (Routledge, 2018).
Jonathan Mullins
Assistant Professor of Italian, The Ohio State University
Jonathan Mullins is Assistant Professor of Italian at The Ohio State University. The main concerns of his research are the history of the Italian left, the use and representation of the body and the way media facilitate the creation of mass, sub, and countercultures. He is currently preparing a book manuscript, Ephemeral Media, Everyday Dissent: the Radical Left in 1970s Italy, which tracks how radical leftists turned to ephemeral cultural forms—street performance, alternative radio broadcasts, photography, graffiti, and print marginalia—to invigorate their political practice. A second book, The Poetics of Exhaustion: Italian Realisms in the Age of Berlusconi, is also underway. His publications have appeared numerous international journals including The Italianist, Italian Studies, the Journal of Romance Studies and World Picture.
Rachele Antonini
Associate Professor of Audiovisual Translation and Language Mediation, Università di Bologna
Associate Professor at the University of Bologna. Her research interests span from sociolinguistics, to humour studies, audiovisual translation, and non-professional interpreting and translation (child language brokering). She has been studying the sociolinguistics of the Irish language, the perception of dubbing and of subtitled humour, the teaching of linguistic mediation (liaison interpreting), and language and culture. At the moment she is focussing my research activities on child Language brokering.
She is currently involved in national and international research projects. She presented the results of her studies at numerous conferences (both as a presenter and keynote speaker). She has authored many published articles and edited volumes.
Paola Bonifazio
Associate Professor of Italian, University of Texas at Austin
Paola Bonifazio is Associate Professor of Italian at the University of Texas at Austin. She received her PhD in Italian Studies from New York University (2008) and her M.A. in Italian and Film Studies from the University of Pittsburgh (2003). In 2011-12 she was National Endowment for the Humanities/Andrew Mellon Rome Prize Fellow at the American Academy in Rome. Her research interests focus on Italian film and cultural studies, documentary history and theory, and gender studies. Her first book Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy (University of Toronto Press, 2014) explores short film productions sponsored by state and non-state agencies to promote modernization and industry, and to govern the Italian people's conduct. She is also Associate Editor of the on-line peer reviewed journal gender/sexuality/italy. In 2020 Photoromance: A Feminist Reading of Popular Culture (MIT Press), her second book, was published.
Alessandro Carpin
PhD Candidate, Brown University
Alessandro Carpin is a PhD candidate in Italian Studies at Brown University. His research interests include television, new media, theory and practice of screenwriting, transmedial storytelling and worldbuilding. In addition to his scholarly work, Alessandro has been working as script consultant, story editor and screenwriter for the Italian television industry.
Allison Cooper
Assistant Professor of Romance Languages and Literatures and Cinema Studies, Bowdoin College
Allison Cooper is Assistant Professor of Romance Languages and Literatures and Cinema Studies at Bowdoin College. Her research is on modern and contemporary Italian cinema and culture, with a focus on the relationship between narrative film and place. Recent articles examine the phenomenon of cinema all'aperto, or open-air cinema, and the connections films make between stars and particular places such as Rome. These and other essays on Italian cinema and literature have appeared in The Italianist Film Issue, Annali d'Italianistica, and several anthologies. She is currently at work on Cinematic Rome between the Sacred and the Profane, a book-length analysis of representations of Rome in film and television and their treatment of the city's dual identity as capital of the Catholic Church and capital of the Italian state. Additional research interests include convergences between moving image and computational analysis. She is director of Kinolab, a digital humanities project for the analysis of narrative film and television and co-PI of Computing Ethics Narratives, an interdisciplinary initiative to use narrative media to increase ethical awareness in future generations of computer scientists.
Monica Dall'Asta
Professor of History of Cinema Theories, University of Bologna
Monica Dall'Asta is a scholar in Film and Media studies. Her research has dealt extensively with the history of popular culture in a transnational perspective. Her work has particularly focused on feminist film history and theory, and on the role of montage for a constructionist concept of history. Her research developed at the intersection of several lines, including the history of seriality in film and television, the history of film theories and the study of transnational circulation of popular media and transmedial culture. She is co-editor of the international Women Film Pioneers Project based at Columbia University (NY) and the author of a volume about early film seriality (Trame spezzate. Archeologia del film seriale, 2009). At the moment, she is the scientific coordinator of the Horizon 2020 DETECt project ("Detecting Transcultural Identity in European Popular Crime Narratives"), which investigates the topics of identity and popular culture starting from the transnational circulation of crime narratives within the European Union.
Giacomo Durzi
Screenwriter, Director and Producer, Author of "Ferrante Fever"
Screenwriter, director and producer, he worked for several national and international networks, including Nbc Universal, Fox Channels Italy, Rai, Mediaset and La7. His last full-length film, Ferrante Fever (2017), explores the outstanding fortune of My Brilliant Friend tetralogy around the globe, with a particular focus on its reception in the United States. Giacomo Durzi wrote and directed tv documentaries and other contents on different themes: history and politics on behalf of The History Channel and RAI, music for Channel 4 and Mtv Europe and cinema on request of NBC Studio Universal. In his career, he has been story editor for different media groups, developing tv series for societies such as ITC Movie, Mediavivere-Endemol, Tandem Communications and Sky Italia, where he is currently in charge of the original productions. His most successful screenplays involve titles like Baby (2018), Il Miracolo (2018), In Treatment (2013-2018), Romanzo Siciliano (2016), Distretto di Polizia (2011), La Nuova Squadra (2009), I Cesaroni (2006). Script consultants for different institutions, he teaches serial storytelling at the Scuola Holden and collaborates for other renowned educational centres in Italy.
Giovanna Fossati
Professor of Film Heritage and Digital Film Culture, Universit of Amsterdam
In 2013 she was appointed Professor at the University of Amsterdam's (UvA) Faculty of Humanities. The part-time chair was made possible with the support of the EYE Film Institute Netherlands, where Giovanna Fossati serves as Head Curator. Se is currently researching on the influence of digital technology on efforts to preserve, restore and provide access to film heritage, as well as the new role played by film archives and museums in this regard. Her research area also includes the role of policy and institutions, accessibility and distribution, and audience and public reception. Giovanna Fossati has worked at the former Nederlands Filmmuseum since 1997. In 2009, she was appointed Head Curator at EYE, where she currently oversees the collection of 40,000 films, the extensive film-related collection, application of the collection in (digital) presentations and a range of scholarly activities. She obtained her doctorate in Media and Cultural Studies at Utrecht University and has lectured at the Preservation & Presentation of the Moving Image Master's programme since 2003. In 2009, she published From Grain to Pixel. The Archival Life of Film in Transition (Amsterdam University Press).
Dominic Holdaway
Senior Assistant Professor, University of Urbino
Dom Holdaway is a Senior Assistant Professor at the University "Carlo Bo" (Urbino) and has served as an adjunct professor of International Reception of Italian Cinema at the University of Bologna. Until 2019 he worked as a postdoc researcher in film studies at the Università degli Studi (Milan). He is currently part of the research project "Il cinema italiano in relazione agli scenari geopolitici internazionali dalla Seconda Guerra Mondiale alla Guerra Fredda". He is an expert of the distribution of Italian film abroad in the framework of the PRIN research project "The International Circulation of Italian Cinema", ended in 2019. Previously, he conducted a postdoctoral research fellowship on cinema audiences ("Italian Cinema's Audiences: The 60s-70s and Contemporary Cinema from a Comparative Perspective". He completed his PhD at the University of Warwick, with a thesis on political engagement in Italian mafia films. His research and teaching interests are centred on Italian film, and in particular issues of politics, representation, and reception. He has lectured in courses on film at the Universities of Bologna, Udine, Milan and Warwick.
Elisa Mandelli
Research Fellow, Link Campus University and Adjunct Professor, University of Cagliari
Elisa Mandelli is a postdoc researcher at Link Campus University, Rome, member of the project "Comizi d'amore. Il cinema e la questione sessuale in Italia (1948-1978). She is currently and adjunct professor at Cagliari University. In 2005 she obtained her PhD in Art History at Università Ca' Foscari/IUAV, Venezia. Her research interests include the relation between cinema and other art forms, with a particular focus on visual arts, as well as the analysis of cinema and serial products and the presence of moving images as part of museum and exhibitions. She is part of the editorial board of "Cinergie", she published essays in various national and international journals, such as "Cinema&Cie", "1895" and "Studi culturali". She is the author of "Esporre la memoria. Le immagini in movimento nel museo contemporaneo" (Forum, Udine 2017) and "In Treatment. La serialità in analisi" (Mimesis, Milano-Udine 2017).
Federica Muzzarelli
Professor of Photography and Visual Culture, Università di Bologna
Federica Muzzarelli is Full Professor of Photography and Visual Culture at the University of Bologna. She is the editor-in-chief of the series "Cultures, Fashion and Society" (Pearson) and coordinator of the "Culture Fashion Communication - International Research Centre" at the same university. Her main research interests are the analysis and methodologies of photography in contemporary visual culture, and in particular the topic of women and photography. Among her recent books and papers: Femmes Photographes. Emancipation et performance 1850-1940 (Hazan, 2009); Moderne icone di moda. La costruzione fotografica del mito (Einaudi, 2013); L'invenzione del fotografico (Einaudi, 2014); From Family Album to Snapshot Style. Notes on the Aesthetics of the Snapshot Style between Art and Fashion (Pearson, 2015); Lee Miller and Man Ray. Photography, Fashion, Art (Atlante, 2016); The Photo Booth and the Automatic Photographic Portrait. From Criminal and Psychiatric Certification to Imaginary Escape (Pearson, 2016); "Technology on the Stage: a Historical and Visual Perspective", ZoneModa Journal (Pendragon, 2016).
Paolo Noto
Associate Professor of Film History, Università di Bologna
Paolo Noto received his PhD in 2010 and is now Associate Professor at the University of Bologna, where he teaches and does research in the field of film history and new media. He is currently in charge of Film Analysis, History and Methodology of Cinematographic Criticism and Research Methodology Concerning Audiovisual Media courses. Post-war Italian cinema and genre theory are his main fields of interest. Among his publications are Il cinema neorealista, a reader on Italian neorealism co-edited with Francesco Pitassio (Archetipolibri, 2010), Dal bozzetto ai generi: Il cinema italiano dei primi anni Cinquanta (Kaplan, 2011), a monograph in which he challenged the most established examples of theory of film genres in light of Italian popular films of the 1950s, and The Politics of Ephemeral Digital Media, an edited collection on paratexts in contemporary media (edited with Sara Pesce, Routledge, 2016). He is currently involved in the PRIN project Per una storia privata della critica cinematografica italiana. Ruoli pubblici e relazioni private: l'istituzionalizzazione della critica cinematografica in Italia tra anni Trenta e Settanta.
Sara Pesce
Associate Professor of Cinema History and Criticism, University of Bologna
She has taught at the Department of Music and Performing Arts of the University of Bologna since the academic year 2005/2006, in charge of the courses of "Film Analysis", "Narrational and Representational Forms in the Media", "Lineaments of Film Historiography" and "Film History Institutions". She took a degree in Foreign Languages and Literature and a doctoral degree in English Studies at the University of Firenze. Sara Pesce specialised in English and North American literature and interdisciplinary studies. She spent the academic year 1999-2000 as a visiting scholar in New York, Columbia University. In 2002 she was awarded a Fullbright research scholarship at New York University for a research project on Frank Capra. Sara Pesce has worked on English modernism and film avant-garde, and on the historical and cultural roots of American film industry. She is author of a volume dedicated to the Jewish founders of Hollywood (2005) and of a book on World War II cultural memory and Italian Cinema (2008). She is editor of a book on film melodrama (2007) and does research on cinema, actors and celebrity studies.
Chuck Tryon
Associate Professor of Film and Media Studies, Fayetteville State University
Chuck Tryon is Professor of Film and Media Studies at Fayetteville State University. His research focuses on various aspects of film, television, and convergent media, including digital cinema, documentary studies, political television. He is the author of Political Television (Routledge, 2017), On-Demand Culture: Digital Delivery and the Future of Movies (Rutgers University Press, 2013, translated in Italian as Cultura on Demand. Distribuzione digitale e futuro dei film, published by minimum fax, 2017) and Reinventing Cinema: Movies in the Age of Media Convergence (Rutgers, 2009).
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Monte Carlo Analysis – Why and How it is Used
12 Oct Monte Carlo Analysis – Why and How it is Used
Modeling a business can be simple. Given assumptions for revenue growth, fixed and variable expenses, and typical balance sheet ranges, the metrics of interest such as discretionary cash flow to shareholders, change in business value, and need for capital can be derived in a relatively straightforward manner. Risks to the business or the effect of rapid growth can usually be simulated through scenario testing. There are those situations, however, where the sheer number of variables, their interplay, and their unpredictability, requires that a more robust method be used. That is where the Monte Carlo analysis shines.
In situations where there are multiple interacting degrees of freedom which influence an outcome, the Monte Carlo analysis is often the best tool to get a handle on the probable outcomes of a certain course of action.
Here is an example of a situation where a Monte Carlo analysis is appropriate:
The company is a manufacturer with two commodity inputs each with highly variable but independent prices.
The industry is highly competitive with significant price pressure, and the company can only increase prices due to the cost of inputs once a year, leading to a one-year lag in price adjustments.
How large of a line of credit should the company have to ensure that it does not run into a capital crunch?
A static model of the company indicates that they should have no concerns about their available line of credit. Existing debt is being repaid quickly given current input prices and unit sales growth.
However, if we discover after further discussion that input prices are very volatile, a Monte Carlo analysis tells a different story. In the example, the CFO informs us of the following:
The cost of Input 1 is currently at its long-term average of $35 per unit but historically varies in a normal distribution with a standard deviation of $15 per unit.
Likewise, the cost of Input 2 is at its average of $60 per unit but varies with a standard deviation of $10 per unit.
The analysis indicates that over 10,000 iterations (50,000 samples, since we're looking at 5 years per iteration), significant borrowing against the line of credit is often required.
In 37% of the iterations, no credit line is needed. In 15% of the iterations, a balance of $0-$1 million is required. The cumulative % of iterations is shown by the orange line and represents the percentage of iterations where the needed line of credit was less than the amount shown.
The CFO might decide, after reviewing this analysis, that a line of $7 million would accommodate 95% of the likely future capital needs, giving the company a cushion to weather short-term capital crunches while minimizing commitment fees.
Alternate Assumptions
The CFO may decide, on reflection, that the restriction on adjusting product pricing changes to once a year is too conservative, and that their actual experience is that price changes lag an average of half a year after input cost changes. With this adjustment, the credit line need is reduced significantly.
Under these revised assumptions, the CFO discovers that 95% of the iterations require a line of less than $3 million.
In most cases, a detailed Monte Carlo analysis of a company's financials is unneeded overkill. However, there are certain situations where inputs are highly variable, such as commodity prices or investment returns, where a combination of factors lends itself to analysis using the method. Monte Carlo analysis can prove an invaluable tool in a complex situation.


In addition to visiting Emmett Plastic Surgery this New Year, add these foods to your diet for a more radiant look.
Bell peppers are an extraordinary source of beta-carotene, which the body converts to vitamin A. Bell peppers are also an excellent source of vitamin C, which is needed to create collagen. Collagen keeps the skin strong, firm, and supple. Who doesn't want more of that?! One study showed a connection between women who ate a lot of vitamin C and a decrease in dry and wrinkled skin.
Broccoli is full to bursting with all sorts of minerals and vitamins. In addition to zinc, vitamin C, and vitamin A, it also contains lutein. Lutein is a carotenoid that helps shield the skin against oxidative damage. In other words, it helps stop the skin from drying out and wrinkling.
Tomatoes are a top source of vitamin C and contain carotenoids that protect the skin from wrinkling and sun damage.
For women who are postmenopausal, soy can enhance skin dryness while increasing collagen production to help keep your skin strong and supple. Soy also contains isoflavones which are a category of of plant compound. This compound has demonstrated an ability to diminish wrinkles and enhance collagen production.
If you needed another excuse to eat chocolate, here it is: cocoa powder is high in antioxidants and can help your skin look and feel more hydrated and supple. These antioxidants may also aid in protecting your skin against sunburn while improving hydration, blood flow, and skin texture.
Herring, salmon, and mackerel are fantastic sources of omega-3 fatty acids. Omega-3s are so important to skin health that a deficiency in them can create dry skin. In some studies, taking fish oil supplements was linked to the body's ability to fight autoimmune and inflammatory conditions.
For more ideas on how to improve your look this New Year, contact Emmett Plastic Surgery today. You can reach our office by calling 303-955-7545. We offer a variety of services including Botox, Kybella, body sculpting, and facial surgery.


Éditions du Grand-Saint-Bernard, Switzerland. Can be bought at the workshop or ordered online.
2007, New edition: " Jean-Pierre Augier, sculpteur". Text written by Gérard Saint-Guirons - Photographs by Monika Augier.
ROM publishing house, Nice. 8 pages added. Can be bought at the workshop or ordered online.
2001, New edition: Jean-Pierre Augier, sculpteur. Text written by Gérard Saint-Guirons - Photographs by Monika Augier. ROM publishing house, Nice.
1999, "Jean-Pierre Augier, sculpteur". Text written by Gérard Saint-Guirons - Photographs by Monika Augier. ROM publishing house , Nice.
2009, "Le monde de Jean-Pierre" DVD, directed by Philippe Aigouy.
1981, "Fers vivants", a film by Denis Frizet; "L'enclume", slide show by Max Persyn of the ACPAN (Nice).
1972, "Jean-Pierre Augier, magicien du fer", report for the Fox Movietone TV news.
"Vivre pour créer", video cassette directed by the state education at the Saint-Cloud studio.
1995, COMTE (Béatrice), "Augier: ce sculpteur sait faire danser le fer", featured in the Figaro magazine, Saturday 25th of November 1995, p. 96-100.


Trade shows and exhibitions offer a great opportunity for buyers to meet global exhibitors related to their niche. They also offer a chance to attend live demonstrations and compare products. You can also participate in formal sessions to find out more about the products and services being displayed. Interested buyers can sign on-site contracts with several exhibitors as per their requirements and preferences. Here are some tips for buyers to help make the most of trade shows.
Dig for information. It is very important to get information about products and services that may fit with your business. Plan to visit a trade show that targets your niche market. Search online for information regarding participating companies, their products and brand value.
Question company representatives at the trade show. Ask appropriate questions about any products or services you're not familiar with. Observe the way the representatives entertain your queries.
Attend demonstrations and workshops. These can help you gain practical knowledge about the products on display.
Make the most of personalized interaction and discounts. Trade shows allow you to meet global exhibitors face-to-face and try their products. Even small businesses can find exhibitors offering pertinent products at attractive prices. Some exhibitors will offer huge discounts to beat their competitors.
Network. Most importantly, exhibitions and trade shows offer wide networking opportunities for exhibitors and buyers alike. The bottom line is that trade shows are a great opportunity for any company, whether vendor or buyer, to give their business a boost.
wikiHow is a "wiki," similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, volunteer authors worked to edit and improve it over time. This article has also been viewed 14,166 times.
Thanks to all authors for creating a page that has been read 14,166 times.


text:
import yaml, canonical

def test_canonical_scanner(canonical_filename, verbose=False):
    with open(canonical_filename, 'rb') as file:
        data = file.read()
    tokens = list(yaml.canonical_scan(data))
    assert tokens, tokens
    if verbose:
        for token in tokens:
            print(token)

test_canonical_scanner.unittest = ['.canonical']

def test_canonical_parser(canonical_filename, verbose=False):
    with open(canonical_filename, 'rb') as file:
        data = file.read()
    events = list(yaml.canonical_parse(data))
    assert events, events
    if verbose:
        for event in events:
            print(event)

test_canonical_parser.unittest = ['.canonical']

def test_canonical_error(data_filename, canonical_filename, verbose=False):
    with open(data_filename, 'rb') as file:
        data = file.read()
    try:
        output = list(yaml.canonical_load_all(data))
    except yaml.YAMLError as exc:
        if verbose:
            print(exc)
    else:
        raise AssertionError("expected an exception")

test_canonical_error.unittest = ['.data', '.canonical']
test_canonical_error.skip = ['.empty']

if __name__ == '__main__':
    import test_appliance
    test_appliance.run(globals())

redpajama_set_name: RedPajamaGithub