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This article needs to be updated. Please update this article to reflect recent events or newly available information. ( January 2015) Grupo Televisa S. A. B. Logo used since 16 January 2016 Type Sociedad Anónima Bursátil Traded?as BMV: TLEVISA NYSE: TV ISIN MXP4987V1378 Industry Mass media Predecessor Telesistema Mexicano (1955) Televisión Independiente de México (1965) Founded 8?January 1973; 47 years ago Founder Emilio Azcárraga Vidaurreta Headquarters Mexico City, Mexico Area served Worldwide Key people Emilio Azcárraga Jean (CEO), Ervin Azcárraga Jean Bernardo Gómez Martínez, Alfonso de Angoitia José Bastón Patiño [1] Products Broadcasting, cable TV, radio, publishing, Internet Revenue US$ 7, 561, 872, 519. 00 (2018) Net income US$ 387, 545, 547. 00 million (2018) Owner Azcárraga Family Number of employees 47, 000 Approximate Subsidiaries Televisa Interactive Sky México (58. 7%) Izzi Website televisa Grupo Televisa, S. ( Spanish pronunciation: [tele?βisa] ( listen)) is a Mexican multimedia mass media company and the largest in Latin America [2] [3] and the Spanish-speaking world. [4] It is a major international entertainment business, with much of its programming airing in the United States on Univision, with which it has an exclusive contract. Company [ edit] History [ edit] Previous logo of Televisa (1973-2000). It was designed by Pedro Ramírez Vázquez. [5] In 2001, it was re-designed to celebrate the 50th anniversary of Mexican television. The logo represents a human eye looking at the world through a television screen. It retains the original logo's yellow and orange colors that contrast with a dark blue background while the center of the logo is a sphere that represents the known contemporary world with its focus on communications, specifically television. Since its beginning the company has been owned by the Azcárraga family. The company has been led and owned by three generations of Azcárraga; each has marked an era for the company and, until October 2017, [6] each had passed the ownership of the company to his son upon his death. Emilio Azcárraga Vidaurreta (1955?1972) [ edit] Grupo Televisa was founded in 1955 as Telesistema Mexicano, linking Mexico's first three television stations: XHTV-TV (founded in 1950), XEW-TV (1951) and XHGC-TV (1952). Along with Emilio Azcárraga Vidaurreta, the O'Farril family and Ernesto Barrientos Reyes, who had signed on Mexico's first radio station, XEW-AM, in 1930, were co-owners of the firm. Its headquarters, known as Televicentro, were originally located on Avenida Chapultepec in downtown Mexico City. The building opened on 10 February 1952. Logo of Telesistema Mexicano, one of the two networks that fused to become Televisa in 1973 The channel was the first national network to be broadcast in color in 1963. Before the launch, Telesistema began airing in color in the late 1950s in select cities along the U. S. -Mexico border, given the fact that color signals were already present since the start of US color television in the decade starting from 1954. In 1968, Telesistema's main competitor, Televisión Independiente de México (TIM), entered Mexico City with XHTM-TV Canal 8. At the time, both Telesistema and TIM (which was based in Monterrey) competed with another new station, XHDF-TV channel 13, which also started transmissions in 1968. Over the next four years, both networks competed in content and image until they merged, taking on the name "Televisa" in 1973. In the merger deal, the owners of Telesistema had 75 percent of the stocks, while the owners of Televisión Independiente had the rest, which were sold to Telesistema later because of financial problems. On 7 September 1970, 24 Horas debuted and became one of Mexico's most watched news programs. The host, journalist Jacobo Zabludovsky, anchored the newscast for almost three decades. The 1973 merger brought in another new face who would later help revolutionize television and pop music: Raúl Velasco and his Sunday program Siempre en Domingo, which was, from the start, being aired on Telesistema. It's successful run of 29 seasons (1969-98) not only featured the best pop artists from Spain and Latin America as well as from English-speaking countries, but also the most successful local singers, and its broadcast into many countries in both North and South America helped promote Latin pop to millions of television viewers. Emilio Azcárraga Milmo (1972?1997) [ edit] On 17 August 1972, Emilio Azcárraga Vidaurreta died, and Emilio Azcárraga Milmo succeeded him as company president and owner. On 8 January 1973, both Telesistema Mexicano and Televisión Independiente de México merged, taking on the name Televisa, an acronym for Tele visión Vi a Sa télite in Spanish. In 1975, brothers Emilio Diez Barroso and Fernando Diez Barroso began working in the presidency offices of Televisa. Televisa started to transmit several programs produced by the Universidad Nacional Autónoma de México in 1977. On 3 March 1983, Canal 8 was reformatted to become a cultural channel, offering informative programs, debates and cultural shows. In 1985, a frequency swap moved the station from channel 8 to 9, and Televisa also decided to swap its callsign for that of XEQ-TV, which had been on channel 9 and broadcast from Altzomoni; the XHTM callsign was moved to that station, which was moved to channel 10. Canal 9 eventually became Galavisión, now known as Gala TV. On 19 September 1985, an earthquake measuring 8. 1 on the Richter scale caused widespread damage in Mexico City and destroyed the south tower of Televisa's main building. Nonetheless, Televisa's transmissions were not seriously affected. However, several dubbed TV shows were lost. In 1991, Televisa, with help from Japanese public television network NHK (Nippon Hōsō Kyōkai), began its first broadcast in HDTV, using the Japanese MUSE system. Between 1993 and 1994 Televisa was about to buy Italian local TV station GBR, based in Rome, planning to import in Italy his mixed sport- telenovelas formula, but the transaction was ultimately aborted. Emilio Azcárraga Jean (1997?2017) [ edit] In April 1997, Milmo died and Emilio Azcárraga Jean succeeded him as the president of the company. Azcárraga Jean was 29 years old and he was one of the youngest executives in Mexico at that time. In December 1997, Televisa joined with other Mexican media companies to create a marathon known as Teletón, whose mission is to provide knowledge about physical disabilities, giving a strong message about respect, equality and support to people in these conditions. This movement from media, enterprises and Mexicans is reflected in the buildings created with the money from this Marathon, named Centros de Rehabilitación Infantil (CRIT). It is said that sponsors use it as a way to deduce taxes as the Teletón takes place at the end of the fiscal year and therefore allows companies to deduce their donations before declaring their incomes. Televisa is the largest mass media company in Latin America, and it is owned by the Azcárraga family. [7] Televisa controls 66% of the 465 television concessions. [7] Also Televisa owns television programing and broadcasting, programing pay television, publishing distribution, cable television, radio production and broadcasting, football teams (Club Necaxa and Club America), stadiums, Televisa editorial (that makes books, newspapers and magazines), paging services, professional sports and business promotion, film production and distribution, dubbing, operation of horizontal internet portal, DVD distribution, EMI Televisa music, Playcity casino, etc. [7] Televisa is capable of creating, destroying or changing what audience believe or think about something or someone due to the high influence that it has over the society. [8] In México, 6 of every 10 Mexicans get informed of what is happening in the country via television, very few people read newspapers, and the access to internet and the programing pay television are limited to the middle and high classes. [8] This is the reason of why Televisa has a great influence over the decisions in the Union Congress and over the politicians in México. [8] Televisa determines who becomes a hero, and who the villain. There is complicity between Mexican media and government. Media and political power in México have a symbiotic relationship where the economic elites that control the media (Televisa and TV Azteca) are privileged in exchange for their support for the policies and actions of the government. [9] In México the mass media owners are likely to have access to high levels of the Mexican government. On 3 May 2006 the community of San Salvador Atenco was violently repressed by the Mexican police who used excessive force, and committed severe human rights violations. This event was one of the most violent repressions in the nation's history. This event is important because it shows how Televisa and TV Azteca were involved in inciting and supporting the repression of the people of Atenco by the government in México. The approval of the repression of Atenco by TV Azteca and Televisa can be seen as a clear example of the collaboration between mass media and government. Televisa and TV Azteca through their news programs support government policies without criticism, and dismiss alternative voices to the dominant discourse. When this event occurred, mass media portrayed the farmers of Atenco as a radical social movement without reporting the reason behind the mobilization. In México the mass media are not there to provide objective information, México is under the shadow of authoritative journalism, in which they are only there to endorse an agenda that is aligned with the government. In August 2014, T
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A cinematographic tour de force! This is an almost flawless movie and a true metaphysical drama. Probably the best movie of the Toronto international film festival. Base on a true story the photography is breath taking. You have to see it. Like si te hace recordar una persona especial en tu vida??????.
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Muy entretenida. Lástima la falla en el audio de los últimos minutos. No obstante ya estaba todo resuelto y se comprende igual el final. Saludos desde Argentina. Gracias por ofrecernos compartir esta película. I have never seen a film like A Hidden Life. Terrence Malick is known for his unique style, but this is something else. It is one of the most grim, harrowing, mournful films I have ever seen (it should be rated R) and it is absolutely masterful.

I can't even find words to properly describe it. This is a film that you enter, that you experience, you almost feel like you're watching a documentary. Malick's direction is absolutely one of a kind, brilliant, almost spiritual. The acting is phenomenal-August Diehl is terrific, and Valerie Pachner is spectacular, along with excellent supporting performances from all. The cinematography is astounding; jaw-droppingly gorgeous (either this or 1917 for best cinematography of the year) and James Newton Howard's score is beautiful. But what sets this film apart is its emotional brutality- it is heartbreaking, grim, and absolutely brutal. And yet, throughout all of this, the courage, faith and bravery of Franz and his wife, not to mention their three little girls and Franz's mother-is incredibly overwhelming. The film is not without flaws-it's needlessly too long, with some repetitive shots-but that does not take away from the fact that it is fantastic. An incredible film.

PUES YA SOMOS 2. The movie tells the moving story of a man sticking to his principles and beliefs until the most extreme consequences; his courage is absolutely remarkable. As much as I respect such an act of courage, this provides too thin a plot too sustain a nearly 3 hours movie. In fact we are offered very long, elegiac sequences of the Austrian mountains, scenes from the bucolic life of a community of peasants living in a small village on those mountains, beautiful shots which look more like fillers than a relevant part of the story.

But the main flaw of the movie for me, the one that created a big disconnect from minute one was to see the actors playing in English; in the context of such a poetic, hyper realistic type of movie, the least thing you would expect is to find Austrian peasants and Nazi soldiers speaking English. The effect was for me as if the actors were telling me: Ha-ah, we are not the real characters, we don't even speak their language; we are just actors playing them in a movie." I thought this was a gross mistake, one which put me off from the very beginning and prevented me from connecting with the story and its characters.

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Una vida oculta