They will then surrender the corresponding number of CBAM certificates. Once the permanent system enters into force on 1 January 2026, importers will need to declare each year the quantity of goods imported into the EU in the preceding year and their embedded GHG. The objective of this transition period is to serve as a pilot and learning period for all stakeholders (importers, producers and authorities) and to collect useful information on embedded emissions to refine the methodology for the definitive period. The agreement foresees that indirect emissions will be covered in the scope after the transitional period for some sectors (cement and fertilisers), on the basis of a methodology to be defined in the meantime. During this period, importers of goods in the scope of the new rules will only have to report greenhouse gas emissions (GHG) embedded in their imports (direct and indirect emissions), without making any financial payments or adjustments. The gradual phasing in of CBAM over time will allow for a careful, predictable and proportionate transition for EU and non-EU businesses, as well as for public authorities. Under the political agreement, the CBAM will enter into force in its transitional phase as of 1 October 2023. With this enlarged scope, CBAM will eventually – when fully phased in – capture more than 50% of the emissions in ETS covered sectors. The CBAM will initially apply to imports of certain goods and selected precursors whose production is carbon intensive and at most significant risk of carbon leakage: cement, iron and steel, aluminium, fertilisers, electricity and hydrogen. The set of rules and requirements for the reporting of emissions under CBAM will be further specified in an implementing act to be adopted by the Commission after consulting the CBAM Committee, made up of experts from EU Member States. The CBAM itself will enter into application in its transitional phase on 1 October 2023, with the first reporting period for importers ending 31 January 2024. The regulation then officially entered into force the day following its publication in the Official Journal of the EU on. On, the co-legislators signed the CBAM Regulation. The CBAM is designed to be compatible with WTO-rules. The gradual introduction of the CBAM is aligned with the phase-out of the allocation of free allowances under the EU Emissions Trading System (ETS) to support the decarbonisation of EU industry.īy confirming that a price has been paid for the embedded carbon emissions generated in the production of certain goods imported into the EU, the CBAM will ensure the carbon price of imports is equivalent to the carbon price of domestic production, and that the EU's climate objectives are not undermined. The EU’s Carbon Border Adjustment Mechanism (CBAM) is our landmark tool to put a fair price on the carbon emitted during the production of carbon intensive goods that are entering the EU, and to encourage cleaner industrial production in non-EU countries. Carbon leakage occurs when companies based in the EU move carbon-intensive production abroad to countries where less stringent climate policies are in place than in the EU, or when EU products get replaced by more carbon-intensive imports. As the EU raises its own climate ambition, and as long as less stringent climate policies prevail in many non-EU countries, there is a risk of so-called ‘carbon leakage'. Climate change is a global problem that needs global solutions.
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Coordinate and implement EDP programme on sector management, governance, data management, M&E and EMIS through: - Design and implementation of UNESCO programme and projects on data systems for sector management and accountability, in line with the UNESCO strategy on education system strengthening - Provision of management, advisory, technical assistance, methodological support and capacity development services for deployment and improvement of data systems/education management information systems. Provide support to Section’s projects contributing to the Global Education Coalition and notably Global Learning House programme though provision of management, advisory, technical assistance and capacity development services. Provide substantive, technical and analytical support to projects, consultations, meetings, events and missions, in particular on activities related to data systems in education including EMIS. Contribution to the preparation of work plans and/or proposals setting out plans for project implementation, preparation of inputs and/or reports on projects for various purposes, for example for briefing, regular programme reporting, etc. Contribute to the management and implementation of the AFD and Azerbaijan extrabudgetary projects through: - Conduct of thematic and situational analyses, including analysis and evaluation of project implementation and delivery. Programme and project implementation** a. In particular, the incumbent will perform the following essential duties: Long Description - **1. Within this context, EDP is seeking for a senior project officer who will contribute to the implementation and delivery of the abovementioned projects, as well as to the design and delivery of programme activities related to sector management, data and monitoring and evaluation systems, including EMIS Long Description - Under the overall authority of the Assistant Director-General for Education, the guidance of the Director of the Division and the direct supervision of the Chief of Section, the Senior Project Officer will be responsible for providing technical support in the implementation of the section’s programmatic activities and initiatives, with a particular focus on the aforementioned projects, as well as those contributing to the sector management, data, monitoring and evaluation systems programme implemented by the Section, including in emergency contexts. (3) An increasing number of country activities to support the projects implemented by field offices and specialized institutes aiming at strengthening educational administration through enhancement of national education data and management information systems. (2) Azerbaijan-funded project for “operationalizing and scaling-up of the Global Education Coalition missions”, contributing to the achievements, scale-up and sustainability of the Global Education Coalition’s three related missions, such as the Global Skills Academy, the Global Teacher Campus and the Global Learning House, with the latter consisting of providing supplemental educational opportunities with priority given to girls and disadvantaged groups. A dedicated sub-component of the project focuses on diagnosis and strengthening of national EMIS in relation to production and use of data on educational resources. Among its portfolio of activities, EDP coordinates and provides technical backstopping to the implementation of national, regional and global projects such as: (1) AFD-funded project on “Production and dissemination of educational resources for primary and secondary schools and pupils in the 15 Francophone Sub-Saharan (SSA) countries”, aiming to equip the school age population with better basic skills by improving equitable access to a set of quality, relevant and cost-effective educational resources. To this end, EDP’s work focuses on programme areas aiming to contribute to resilience building and system strengthening in national education systems. **OVERVIEW** - Post Number : ED/PA 211 Grade : P-4 Parent Sector : Education Sector (ED) Duty Station: Paris Job Family: Education Type of contract : Project Appointment Duration of contract : 1 year Recruitment open to : Internal and external candidates Application Deadline (Midnight Paris Time) : 0 UNESCO Core Values: Commitment to the Organization, Integrity, Respect for Diversity, Professionalism ***Duration of Contract: 1 year with possibility of extension subject to availability of funds and satisfactory performance*** **OVERVIEW OF THE FUNCTIONS OF THE POST** - Within the Division of Policies and Lifelong Learning Systems (ED/PLS), the Section of Education Policy (EDP) contributes towards strengthening resilience, quality, and equity of Member States’ education systems to flexibly respond to evolving learning needs. We leverage the full resources of our firm to help individuals, families and institutions reach their financial goals.Īt Morgan Stanley, we focus the expertise of the entire firm-our advice, data, strategies and insights-on creating solutions for our clients, large and small. We rely on our technologists around the world to create leading-edge, secure platforms for all our businesses.įor 87 years, we’ve had a passion for what’s possible. We live that commitment through long-lasting partnerships, community-based delivery and engaging our best asset-Morgan Stanley employees.Īs a global financial services firm, Morgan Stanley is committed to technological innovation. Our firm's commitment to sustainability informs our operations, governance, risk management, diversity efforts, philanthropy and research.Īt Morgan Stanley, giving back is a core value-a central part of our culture globally. 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Stay abreast of the latest trends and developments. Whether it’s hardware, software or age-old businesses, everything today is ripe for disruption. Learn from our industry leaders about how to manage your wealth and help meet your personal financial goals.įrom volatility and geopolitics to economic trends and investment outlooks, stay informed on the key developments shaping today's markets. Across all our businesses, we offer keen insight on today's most critical issues. At Morgan Stanley, we lead with exceptional ideas. Due to the thin portrait format, they are also known as ‘Japanese Inserts’, and, (for reasons we can’t discern) ‘Speed’ posters.ī5 – 7.2 in x 10.1 in (18.2 cm x 25.7 cm)Ī B5 poster is also known as a ‘Chirashi’ (literally ‘flyer’). The B4 format is usually used as an ‘advance’ poster to publicise an upcoming film. They have sold for many thousands of pounds.ī3 – 14.3 in x 20.3 in (36.4 cm x 51.5 cm)Īlso known as ‘Nakazuri’ (the best translation we could find was 'advertisement hanging in a train'), the B3 is half the size of the B2 and is used in both landscape and portrait.ī4 – 10.1 in x 28.7 in (25.7 cm x 75.8 cm) If you find a “Godzilla” (“Gojira”) B2 poster from the 1950s, hold on to it. One Sheet is in America (and is becoming elsewhere). The portrait format B2 is the most commonly used Japanese movie poster, as ubiquitous in Japan as the U.S. In a similar vein to the larger B0, B1 posters are used in both portrait and landscape, with the landscape often having different artwork.ī2 – 20.3 in x 28.7 in (51.5 cm x 72.8 cm) Used in both portrait and landscape, the landscape format often features different artwork to its portrait counterpart.ī1 – 28.7 in x 40.6 in (72.8 cm x 103.0 cm) They are therefore also known as ‘two sheet’ and ‘B-bai’ ( ‘bai’ translates as ‘double’) posters. The large B0 format is made up of two B1 posters. Pre-war Japanese movie posters are incredibly hard to come by, so, within this post, we will concentrate on the post-war formats.ī0 – 40.6 in x 57.3 in (103.0 cm x 145.6 cm) Post war, this resulted in the formation of the Japanese Industrial Standards (JIS) Committee.Īs a result, from the mid 1940s, Japanese movie poster sizes have been standardised to ‘JIS B’ paper sizes. With the advent of war, attempts to increase productivity lead to the introduction of centralised industrial standards. This lead to wide variances in the sizes of movie posters. Prior to the Second World War, Japanese industries were responsible for setting their own standards. It can trace its origins back to 1897, when Lumière cameramen began filming in the country and the first successful Japanese films were shown. and France combined, only lagging behind India (who produced the most by a wide margin), the United States and China. In 2010 it produced more films that the U.K. The Japanese movie industry is significant by any International measure. In this post, we focus on Japanese movie poster formats. In previous blog posts we’ve discussed the terms used to describe U.S., U.K., French and Italian movie posters. Here at Art of the Movies, we source original vintage movie posters from all over the world. And it’s Raiden IV – basically – and that came out originally in 2007. It’s new to the PlayStation 5 and Xbox Series X, but has been on the Switch for more than a year now. Raiden IV x Mikado Remix isn’t exactly a new game, either. Well, not quite there’s still a respectable quantity of player-killing ordinance being flung your way at any one time, including some nicely inventive boss fights that do really tax my mental flow while playing. Raiden IV x Mikado Remix doesn’t offer quite the chained scoring mechanics (quite) of other titles, or the sheer bullet hell chaos of some of the more highly regarded classics. You get a choice of three ships – two regular plane types and a mostly-naked fairy because sure, why not – and that’s your lot. In many ways, Raiden IV x Mikado Remix isn’t the most inventive in terms of in-game mechanics, leaning as it always has on a triple weapon system – essentially bullets, lasers or a twisty purple plasma beam, which comes in two player-chosen variants in Raiden IV x Mikado Remix. So she helped while I tried in my broken French to explain that I did need to make sure the second-hand disc worked, because I couldn’t exactly bring it back from the other side of the planet easily! Luckily (for me), the love of my life loves me just as much, and more importantly she understands me. Picture it: I’m in the city of love with the love of my life, and I’m spending my time tracking down semi-obscure Japanese shmups rather than taking in the sights. So much so, to give some context, that I spent serious time on my honeymoon tracking down a copy of The Raiden Project for the original PlayStation while on honeymoon in Paris. I’ve loved Raiden ever since the first time I lined up a 20c piece against a grubby machine in my local video store – if these sound like archaic terms, reader, bear in mind that I’m ancient and this totally was the style at the time – and got drawn into its simple but satisfying gameplay loop. It’s not because I hate the series, or can’t appreciate the beauty of a vertical shmup. I am, in many ways, the worst possible person to review a Raiden game. |