
Google TV to Launch in Europe Next Year
Google will launch its TV service in Europe early next year, Executive Chairman Eric Schmidt said on Friday, despite teething problems that had led some observers to question how committed the company would remain to the project.
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CNBC.com
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Google TV [GOOG 526.86
6.82 (+1.31%)
], which allows viewers to mix Web and television content on a TV screen via a browser, was launched in the United States in October but received mixed reviews and was swiftly blocked by three of the top U.S. broadcast networks.
Large parts of the television industry, like the news and telecoms industries, view Google with suspicion and accuse it of stealing their advertising revenues without contributing to the costs of making programs.
Schmidt sought to allay the fears of Britain’s broadcasting elite in a speech to the Edinburgh television festival, the first time a non-TV executive had been invited to give the keynote MacTaggart lecture at Britain’s premier industry event.
“Some in the US feared we aimed to compete with broadcasters or content creators. Actually our intent is the opposite,” he told an audience who quickly warmed to his friendly style and liberal compliments to the quality of British television.
“We seek to support the content industry by providing an open platform for the next generation of TV to evolve, the same way Android is an open platform for the next generation of mobile,” he said. “We expect Google TV to launch in Europe early next year, and of course the UK will be among the top priorities.”
Google TV has gained little traction so far in the United States, and its set top box provider Logitech [LOGI 10.77
0.06 (+0.56%)
] slashed prices to $99 in July from an initial price of $299.
Schmidt also included a warning to British television regulators, who he said were far more stringent than their U.S. counterparts and threatened to throttle the development of British television companies in an increasingly global market.
“Stifling the Internet—whether by filtering or blocking or just plain turning the ‘off’ switch—appeals to policy makers the world over,” he said. “Instead, policy makers should work with the grain of the Internet rather than against it.”
Opportunistic
Google has long held ambitions in the television arena, hoping to extend its online advertising business, which made $28 billion for the company last year, to the big screens that still command the lion’s share of global advertising budgets.
So far, it has had little success, despite its ownership of the world’s most popular online video site, YouTube.
Last week, however, Google agreed a deal to buy Motorola Mobility [MMI 37.72
-0.13 (-0.34%)
] for $12.5 billion, handing it the world’s leading set top box business which delivers content for many of the top cable TV companies in the United States.
The headline attraction of the deal was Motorola’s huge portfolio of wireless patents but the set top box business could help Google transform its TV project by giving it insights into pay-TV.
Google has not spelled out its plans for the set top box business, and many analysts expect it to divest the unit at the first opportunity, having no experience or previous interest in running a hardware business.
Others believe Google could change tack under CEO Larry Page, Google’s co-founder who took back the reins from Schmidt in April and has already started a social network to compete with Facebook while ditching other projects.
“Google describes itself as an opportunistic company. So while it may not have wanted to buy Motorola’s operations, it may now assess whether retaining these assets can compensate for the risk of owning them,” New York-based Nomura analyst Stuart Jeffrey wrote in a note this week.
Schmidt made no mention of the Motorola acquisition or its implications on Friday, but will hold a question and answer session in Edinburgh on Saturday.



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فرشین کاظمینیا – جانور عجیب و غریبی در فیلم حضور دارد به نام «ایگی» که «خانگی و حاکم» شده است و بر همه چیز، از مطبوعات و کتابها گرفته تا ارتباطات و اینترنت و حتی بر جان آدمی نیز چنگ میزند. پناهی هم گاه بیآنکه خود خواسته باشد، رعایت این «اقتدار» را میکند و البته از این موضوع راضی نیست. «مقتدر» در همه جا حاضر است و یکی از پیامدهای حضور او سانسوری است که حتی مکالمهی تلفنی ساده را ناامن میسازد.
در فیلم پناهی، خود او (به عنوان کنشگر اصلی در مقامهای طراح / کارگردان / راوی / بازیگر وگاه تصویربردار)، فیلمنامهاش، شخصیت متعارض دختر فیلمنامهای که قسمتهایش را میخواند، دانشجوی فوق لیسانس هنر که برای امرار معاش کارگری میکند، مجتبی میرطهماسب (همکار / تصویربردار. مداخلهگر و بیننده)، دختر همسایه و حتی دو شخصیت فیلمهای قبلی او، «سوژه»هایی هستند که عامدانه از ارجاع به بیرون از خود اجتناب میکنند. (حتی روایت دانشجو / کارگر، از بازرسی منزل پناهی به درستی ناتمام میماند و اصلاً ضرورت پرداخت به آن احساس نمیشود.) پناهی، اینبار سوژهای است که روایتی جز خود ندارد و تصویری از «نابسامانیها» – به شیوهی کلاسیک رئالیسم واقعگرای تام نیست. اینبار خود اوست که در مرکز اتاق / فیلم / جهان، ایستاده است و در اضطراب و بیقراری تعریفنشدنی، خودش و دیگران و در کل جامعه را رصد و ثبت میکند.













