Suchergebnisse

Srinivasan, Krishnan, Diplomatic Channels (New Delhi: Manohar Publishers, 2012). Pp. 264, Price ₹750.

AbstractA simple formula is found to be just as accurate as a complicated one for estimating the probability of detection achievable by an ingenious searcher patrolling a channel or barrier. The difference between "detection" and "closure" is emphasized in an extension.

The product life cycle has been a widely recognized tool for studying overall market behavior and estimating growth potential. Its most common application has been in the decision whether to expand manufacturing capacities. The product life cycle can also be used as a tool for evaluating and enhancing channels of distribution.

Obliged by act of Parliament to "innovate and experiment," Channel 4 has, since its birth in 1982, been the UK's most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation's 2000 Annual report, 'More than a Television Channel' indicates the confidence, optimism and boldness with which this expansion was approached.The rapid expansion of the channel's portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel.Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4's strategy that pertained to one of the broadcaster's particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company.

Strategic partnering is a method of developing a relationship
between two members of a distribution channel based on the growth of
understanding, trust and shared information. It does not rely on
personal relationships between individuals but is initiated at the
highest management levels and becomes a part of the corporate structures
concerned. The resulting development of integrated marketing plans,
joint strategies and tactics allows the partner organisations to develop
and maintain strategic fit between their capabilities and goals and
their changing market opportunities. Electronic data interchange
technology confers direct benefits through lower transaction costs,
faster response times and more cost‐effective service to customers.

Abstract
Price differentiation has long been recognized as a strategy that companies can use to increase profits when consumers' tastes and valuations of a good price vary. Companies engaging in price differentiation have the opportunity to increase profits considerably compared to those which use a uniform pricing strategy. Accordingly, it should be beneficial for companies to exploit the possibility of charging different prices in online and offline channels as they offer different shopping benefits and are differently valued by consumers. nevertheless, it can be observed that some multi-channel retailers prefer to charge uniform prices in online and offline channels. They argue for consistent prices across distribution channels to maintain a strong brand - and because varying prices may lead to customers' confusion, anger, irritation and perceptions of price unfairness.

Obliged by act of Parliament to "innovate and experiment," Channel 4 has, since its birth in 1982, been the UK's most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation's 2000 Annual report, 'More than a Television Channel' indicates the confidence, optimism and boldness with which this expansion was approached.The rapid expansion of the channel's portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel.Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4's strategy that pertained to one of the broadcaster's particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company.

1 Biology of the Channel Catfish -- 1. General Biology -- 2. Life History and Reproductive Biology -- 3. Genetics -- 4. Environmental Requirements -- 5. Nutrition -- 2 Cultural Practices -- 6. Breeding -- 7. Egg and Fry Production -- 8. Fingerling and Food-Fish Production in Ponds -- 9. Water Quality Management In Ponds -- 10. Feeds and Feeding Practices -- 11. Infectious Diseases -- 12. Harvesting and Transporting -- 13. Alternative Culture Systems -- Appendices.