DOCSLIB.ORG

Q4FY19: a Phenomenal Show!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Q4FY19: a Phenomenal Show! SECTOR UPDATE - MEDIA Q 4FY19: A Phenomenal Show! India Equity Research | Media Box office collections hit all-time highs in Q4FY19 with five, ‘non-Khan’, Bollywood movies crossing the coveted INR1bn mark - Uri (~INR2.4bn collection), Total Dhamaal (~INR1.55bn), Simmba (~INR1.4bn), Gully Boy (~INR1.4bn) and Kesari (~INR1.25bn). On the flip side, the quarter saw a face-off between producers and exhibitors over the virtual print fee (VPF), which threatens to be an overhang. Exhibitors are now focusing on innovations to differentiate themselves, which we believe will help them attract higher footfalls. However, we expect footfalls to be weak in Q1FY20 considering IPL, World Cup and general elections. We will watch out for: (1) VPF issue; (2) impact of Ind AS 116; (3) contagion risk of local body tax (LBT); and (4) OTTs’ aggression. Maintain ‘BUY’ on PVR. Multiplexes and producers battling on VPF payments \ Last month, Mr. Ronnie Screwvala had reportedly filed a complaint with CCI against top multiplex chains, over the virtual print fee (VPF) payments. VPF is typically charged ‘per- property’ by multiplexes on a ‘per-title (per movie) basis’, from the producers. Though, VPF income is a small portion of the overall revenue for multiplexes – less than 1% of PVR’s FY19E revenue in PVR’s case, the critical part is that the absence of VPF income will have a direct impact, though marginal, on EBITDA of the multiplexes. For PVR, VPF in FY18 was ~INR172mn, roughly ~4% of EBITDA. However, for INOX Leisure (INOX), VPF stood ~12% of the EBITDA. In case, CCI rules in favour of producers, we can expect a marginal hit on the multiplexes’ revenue and EBITDA respectively. However, the value at risk from VPF to the EBITDA is higher for INOX than PVR. Technology to become critical in driving footfall Recently, PVR and INOX signed deals to import ‘ScreenX’ technology to India, which allows a 270-degree movie viewing experience. Additionally, PVR will also be introducing India’s first D-Box motion seats to improve 4DX experience. We believe that such screens will largely be opened in metro cities where appetite for luxury format theatres has been higher and expect both multiplexes to continue to focus on premium offerings. We believe such measures will be conducive towards keeping multiplexes relevant in the value chain and mitigate risk from OTTs. Outlook: PVR to end FY19 on a high note; Q1FY20 to be leaner We estimate PVR’s revenue, EBITDA and PAT to grow ~42%, ~70% and ~85% YoY, respectively, in Q4FY19 (incl. SPI Cinemas), driven by robust box collections, footfall growth and uptick in F&B revenues. We expect ~22% footfall growth for PVR with ATP Abneesh Roy ~INR203, growing the net box office collections ~25% YoY (excl. SPI Cinemas). We +91 22 6620 3141 anticipate the SPH to inch up ~2% YoY to INR89, increasing the F&B revenue (excl. SPI [email protected] Cinemas) by ~28%. We expect Q1FY20 to be leaner for multiplexes, as producers Prateek Barsagade would prefer to release their movies once attention shifts from the cricketing season +91 22 4063 5407 (IPL and World Cup) and general elections. Though we maintain ‘BUY’ on PVR, we will [email protected] keep tabs on – 1) VPF issue; 2) impact of Ind AS 116; 3) contagion risk of LBT and 4) OTTs’ aggression (refer our note: OTTs to disrupt multiplex’s party?). April 9, 2019 Edelweiss Research is also available1 on www.edelresearch.com, Edelweiss Securities Limited Bloomberg EDEL <GO>, Thomson First Call, Reuters and Factset. Media Table 1: Domestic box office collections in Q4FY19 Table 2: Domestic box office collections in Q4FY18 Total Total (INR mn) Day 1 Day 2 Day 3 Collections Movies (INR mn) Day 1 Day 2 Day 3 Collections Uri - The Surgical Strike 82 124 151 2,440 Padmaavat 240 320 270 3,021 Total Dhamaal 165 204 255 1,548 Sonu ki Titu ki Sweety 64 93 108 1,090 Simmba* 207 233 311 1,440 Raid 100 139 171 1,031 Gully Boy 194 131 187 1,396 Padman 103 137 161 818 Kesari 211 168 188 1,250 Pari 44 55 55 290 Manikarnika 88 181 157 952 Hate Story 4 38 42 47 224 Luka Chuppi 80 101 140 921 Aiyaary 34 41 44 182 Badla 50 86 96 818 1921 16 21 28 159 Total 10,763 Total 6,814 Source: boxofficecollection.in, Edelweiss research Note: *Simmba released on 28 Dec, 2018 collecting INR963mn in the first four days. Total collections garnered are INR2.4bn. Fig. 1: Gully Boy evinced good response from audience Fig. 2: Uri: The Surgical Strike had a blockbuster run in Q3FY19 Source: Industry, Edelweiss research Fig. 3: Avengers: Endgame slated for release on 26 April, 2019 Fig. 4: Avengers: Endgame slated for release on 17 April, 2019 Source: Industry, Edelweiss research Edelweiss Securities Limited 2 Sector Update Table 3: Q4FY19 – Movie line-up Rel Date Movie Language Distributor Director Cast 5-Apr-19 SHAZAM (IMAX 2D) ENGLISH WARNER BROS. 5-Apr-19 FIGHTING WITH YOUR FAMILY ENGLISH UNIVERSAL STUDIOS 5-Apr-19 RAW - ROMEO AKBAR WALTER HINDI KYTA PRODUCTIONS ROBBIE GREWAL JOHN ABRAHAM, JACKIE SHROFF, MOUNI ROY, SIKANDER KHER 5-Apr-19 NO FATHERS IN KASHMIR HINDI VKAAO 5-Apr-19 CHOUSAR FIRANGI HINDI SR ENTERTAINMENT SANDEEP PANDEY AMOL DESHMUKH, REKHA MISHRA, SARIKA NAYAK, PRATEEK PACHORI, POOJA PANDEY 11-Apr-19 PM NARENDRA MODI HINDI PANORAMA STUDIOS 12-Apr-19 PET SEMATARY ENGLISH VIACOM 18 12-Apr-19 HELL BOY (IMAX 2D) ENGLISH PVR PICTURES 12-Apr-19 ALBERT PINTO KO GUSSA KYON AAYA HINDI RUNAWAY LUMINOSITY 12-Apr-19 SETTERS HINDI 12-Apr-19 THE TASHKENT FILES HINDI 12-Apr-19 PAHARGANJ HINDI RAKESH RANJAN KUMAR LORENO FRANCO, BIJESH JAYARAJAN, RAJEEV GAURSINGH 12-Apr-19 GUN PE DONE HINDI 17-Apr-19 KALANK HINDI FOX STAR STUDIOS ABHISHEK VERMAN ALIA BHATT, VARUN DHAWAN, MADHURI DIXIT, SANJAY DUTT 19-Apr-19 THE CURSE OF LA LLORONA ENGLISH WARNER BROS. 26-Apr-19 LITTLE ENGLISH UNIVERSAL PICTURES TINA GORDON CHISM JUSTIN HARTLEY, MARSAI MARTIN 26-Apr-19 AVENGERS : Endgame (3D / IMAX 3D / 4DX) ENGLISH DISNEY 3-May-19 INTRUDER ENGLISH SONY PICTURES 3-May-19 UGLY DOLLS ENGLISH PVR PICTURES 3-May-19 AFTER ENGLISH PVR PICTURES 3-May-19 ARJUN PATIALA HINDI 3-May-19 BLANK HINDI CARNIVAL MOTION BEHZAD KAPADIA KARAN KAPADIA, SUNNY DEOL 10-May-19 POKEMON DETECTIVE PIKACHU ENGLISH WARNER BROS. 10-May-19 STUDENT OF THE YEAR 2 HINDI FOX STAR STUDIOS 10-May-19 CHHOTA BHEEM : KUNG FU DHAMAKA (2D & 3D) HINDI 17-May-19 THE SUN IS ALSO A STAR ENGLISH WARNER BROS. 17-May-19 THE HUSTLE ENGLISH UNIVERSAL PICTURES CHRIS ADDISON ANNE HATHWAY, REBEL WILSON, TIM BLAKE NELSON 17-May-19 JOHN WICK 3 ENGLISH PVR PICTURES 17-May-19 DE DE PYAAR DE HINDI 24-May-19 ALADDIN ENGLISH DISNEY 24-May-19 AD ASTRA ENGLISH FOX STAR STUDIOS 24-May-19 BRIGHT BURN ENGLISH SONY PICTURES JAMES GUNN 24-May-19 INDIA’S MOST WANTED HINDI FOX STAR STUDIOS RAJKUMAR GUPTA ARJUN KAPOOR 24-May-19 POWER HINDI 31-May-19 ROCKETMAN ENGLISH VIACOM 18 31-May-19 GODZILLA 2 (3D, IMAX 3D) ENGLISH WARNER BROS. 31-May-19 MA ENGLISH UNIVERSAL PICTURES 4-Jun-19 BHARAT HINDI SKF ALI ABBAS ZAFAR SALMAN KHAN, KATRINA KAIF 7-Jun-19 THE SECRET LIFE OF PETS 2 ENGLISH UNIVERSAL PICTURES 7-Jun-19 X-MEN : DARK PHOENIX (IMAX / 4DX) ENGLISH FOX STAR STUDIOS SOPHIE TURNER 14-Jun-19 MEN IN BLACK UNTITLED ENGLISH SONY PICTURES 14-Jun-19 THE ZOYA FACTOR HINDI FOX STAR STUDIOS ABHISHEK SHARMA DULQUER SALMAN,SONAM KAPOOR 21-Jun-19 TOY STORY 4 (3D) ENGLISH DISNEY 21-Jun-19 KABIR SINGH HINDI T-SERIES SANDEEP REDDY VANGA SHAHID KAPOOR 28-Jun-19 UNTITLED JAMES MANGOLD ENGLISH FOX STAR STUDIOS 28-Jun-19 YESTERDAY ENGLISH UNIVERSAL PICTURES DANNY BOYLE ED SHEERAN, ANA DE ARMAS, LILY JAMES 28-Jun-19 ANNABELLE 3 ENGLISH WARNER BROS. 28-Jun-19 DRIVE HINDI FOX STAR STUDIOS TARUN MANSUKHANI SUSHANT SINGH RAJPUT 28-Jun-19 SECTION 375 HINDI PANORAMA STUDIOS 28-Jun-19 MALAAL HINDI T SERIES MEEZAN JAAFERI, SHARMIN SEGAL Source: Industry, Edelweiss research 3 Edelweiss Securities Limited Media Table 4: PVR versus INOX – Quarterly comparison Quarterly comparison - Inox vs PVR PVR Inox (incl. SPI Cinemas) Q3FY18 Q4FY18 Q1FY19 Q2FY19 Q3FY19 Q3FY18 Q4FY18 Q1FY19 Q2FY19 Q3FY19 Net revenue (INR mn) 5,573 5,849 6,963 7,086 8,542 3,259 3,236 4,149 3,653 4,332 EBITDA (INR mn) 1,015 944 1,372 1,240 1,754 463 439 835 448 835 PAT (INR mn) 289 262 522 333 521 132 577 370 120 365 ATP (INR) 212 209 217 211 212 199 193 199 195 206 Net box office (INR mn) 2,931 3,124 3,849 3,739 4,254 1,879 1,895 2,419 2,064 2,429 Ad revenues (INR mn) 867 720 718 811 1,117 403 332 400 378 557 F&B revenue (INR mn) 1,438 1,571 2,027 1,954 2,167 731 777 1,114 949 1,063 Footfalls (mn) 17.4 19.0 22.7 21.4 25.8 12.1 12.6 15.6 13.7 15.3 No. of screens 612 625 634 727 748 488 492 512 536 557 SPH (INR) 92 87 94 88 89 70 67 76 73 74 Occupancy (standalone) (%) 29.1 31.5 35.9 33.4 33.0 24.0 26.0 29.0 25.0 27.0 F&B Gross Margin (Standalone) (%) 74.2 75.2 75.1 73.3 72.5 75.8 74.9 75.6 73.3 73.4 Zone wise screen break up (Consolidated) North 203 203 203 209 216 102 102 109 112 119 East 22 22 22 22 22 72 72 76 76 84 West 245 245 245 250 257 215 219 223 230 236 South 142 155 164 246 253 99 99 104 118 118 Total screens 612 625 634 727 748 488 492 512 536 557 Key metrics Ad revenues per screen (INR mn) 1.4 1.2 1.1 1.1 1.5 0.8 0.7 0.8 0.7 1.0 EBITDA margin (ex ad revenues) 3.2 4.4 10.5 6.8 8.6 2.1 3.7 11.6 2.1 7.4 EBITDA margin 18.2 16.1 19.7 17.5 20.5 14.2 13.6 20.1 12.3 19.3 ATP/SPH ratio (standalone) 2.3 2.4 2.3 2.4 2.4 2.8 2.9 2.6 2.7 2.8 Footfalls per screen ('000) 28.4 30.4 35.8 29.4 34.5 24.9 25.7 30.5 25.5 27.5 YoY growth (%) ATP 6.5 10.0 1.4 3.4 - 9.3 10.9 3.1 4.8 3.5 Net box office 7.7 18.1 12.1 24.9 45.2 6.5 6.0 1.1 11.2 29.3 Ad revenues 10.6 36.5 6.5 18.0 28.9 33.4 58.9 19.8 17.8 38.2 F&B revenue 6.6 22.3 23.2 37.3 50.7 8.1 18.4 26.3 41.4 45.4 Footfalls (2.8) 4.4 8.1 14.4 48.3 (3.0) (2.8) (1.1) 7.2 26.1 Source: Edelweiss research Table 5: PVR Q3FY19: Result preview Q4FY19E Q4FY18 YoY (%) Q3FY19 QoQ (%) Revenue 8,285 5,849 41.6 8,542 (3.0) EBITDA 1,607 944 70.3 1,754 (8.4) Reported Profit 486 262 85.4 521 (6.7) Other income 40 75 32 Tax 262 153 337 EBITDA margin (%) 19.4 16.1 20.5 Source: Edelweiss research; Note: Numbers for Q4FY19E are inclusive of SPI Cinemas We estimate overall revenue, EBITDA and PAT to grow ~42%, ~70% and ~85% YoY, respectively, in Q4FY19 (including revenue from SPI Cinemas).
Load more

Recommended publications
  • Transnational Cinema: a Cross Culture Communication Medium Manu Sharma* Amity School of Communication, Amity University, Noida, India
    un omm ica C tio s n s Sharma, J Mass Communicat Journalism 2014, 4:9 a & M J o f u DOI: 10.4172/2165-7912.1000219 o Journal of r l n a a n l r i s u m o J ISSN: 2165-7912 Mass Communication & Journalism Research Article OpenOpen Access Access Transnational Cinema: A Cross Culture Communication Medium Manu Sharma* Amity School of Communication, Amity University, Noida, India Abstract In recent times, in India, as in most other developing nations, there has been an exponential increase in global foray, whether be it of industry, multinational companies, or even art, both popular and otherwise. This has successively made the window of outlook wider and the border more porous, at least figuratively. It is the changes brought about by these transnational elements, mostly, cinema, and particularly those made during the last two decades that formed the core subject of this study. Keywords: Indian films; Indian transnational cinema; Cultural study Literature Review Introduction Culture and society The paper entitled Transnational Cinema: A Cross Culture In Indian context, the word culture has been derived from the Communication Medium, attempts to look into transnational cinema’s word ‘Kriti’, which means the reparation or reformations and is usually innate nature to network the national to the international, not only referred to as ‘sanskriti’, which means the cultivation or creation of in the panoptical sense but also with questions related to aesthetics, ‘sanskars’ (habits, values, beliefs). Elaborating upon the concept of ideas, and mostly factors pertaining to cross-culture communication, kriti, Leela Samson, in her paper on imbibing Culture at Kalakshetra especially in Indian context [1,2].
    [Show full text]
  • Q1, FY18-19 Vs Q1, FY17-18
    INVESTOR UPDATE Q 1 , F Y 2018- 2 0 1 9 INVESTOR UPDATE Q 1 , F Y 2018- 2 0 1 9 Disclaimer Safe Harbor: - Some information in this report may contain forward-looking statements. We have based these forward looking statements on our current beliefs, expectations and intentions as to facts, actions and events that will or may occur in the future. Such statements generally are identified by forward-looking words such as “believe”, “plan”, “anticipate”, “continue”, “estimate”, “expect”, “may”, “will” or other similar words. A forward-looking statement may include a statement of the assumptions or bases underlying the forward-looking statement. We have chosen these assumptions or bases in good faith, and we believe that they are reasonable in all material respects. However, we caution you that forward-looking statements’ and assumed facts or basis almost always vary from actual results, and the differences between the results implied by the forward-looking statements and assumed facts or bases and actual results can be material, depending on the circumstances. You should also keep in mind that any forward- looking statement made by us in this report or elsewhere speaks only as of the date on which we made it. New risks and uncertainties come up from time to time, and it is impossible for us to predict these events or how they may affect us. We have no duty to, and do not intend to, update or revise the forward-looking statements in this report after the date hereof. The risks and uncertainties relating to these statements include, but are
    [Show full text]
  • Introduction 1
    Notes Introduction 1. Abha Dawesar, Babyji (New Delhi: Penguin, 2005), p. 1. 2. There are pitfalls when using terms like “gay,” “lesbian,” or “homosexual” in India, unless they are consonant with “local” identifications. The prob- lem of naming has been central in the “sexuality debates,” as will shortly be delineated. 3. Hoshang Merchant, Forbidden Sex, Forbidden Texts: New India’s Gay Poets (London: Routledge, 2009), p. 62. 4. Fire, dir. by Deepa Mehta (Trial by Fire Films, 1996) [on DVD]. 5. Geeta Patel, “On Fire: Sexuality and Its Incitements,” in Queering India, ed. by Ruth Vanita (London: Routledge, 2002), pp. 222–233; Jacqueline Levitin, “An Introduction to Deepa Mehta,” in Women Filmmakers: Refocusing, ed. by Jacqueline Levitin, Judith Plessis, and Valerie Raoul (Vancouver: UBC Press, 2002), pp. 273–283. 6. A Lotus of Another Color, ed. by Rakesh Ratti (Boston: Alyson Publi- cations, 1993); Queering India, ed. by Ruth Vanita; Seminal Sites and Seminal Attitudes—Sexualities, Masculinities and Culture in South Asia, ed. by Sanjay Srivastava (New Delhi: Sage Publications, 2004); Because I Have a Voice: Queer Politics in India, ed. by Arvind Narrain and Gautam Bhan (New Delhi: Yoda Press, 2005); Sexualities, ed. by Nivedita Menon (New Delhi: Women Unlimited, 2007); The Phobic and the Erotic: The Politics of Sexualities in Contemporary India, ed. by Brinda Bose and Suhabrata Bhattacharyya (King’s Lynn: Seagull Books, 2007). 7. Walter Jost and Wendy Olmsted, “Introduction,” in A Companion to Rhetoric and Rhetorical Criticism, ed. by Walter Jost and Wendy Olmsted (Oxford: Blackwell, 2004), pp. xv–xvi (p. xv). 8. Quest/Thaang, dir.
    [Show full text]
  • Bromance in Bollywood: Is It Dismantling Homohysteria and Homophobia?
    Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Bromance in Bollywood: Is it dismantling homohysteria and homophobia? Mausumi Bhattacharyya, Ph.D. Associate Professor Centre for Journalism & Mass Communication Visva-Bharati University, Santiniketan - 731235, India & Indian Council of Social Science Research (ICSSR) Post-Doctoral Fellow (June 2017- May 2019) at Jamia Millia Islamia University, New Delhi Abstract Traditionally Hindi films produced by Bollywood are not known to have taken an empathetic view of the plight of India’s queer community. Projecting them as subjects of mockery, as aberrations and villainous have been the predominated approach of filmmakers. Given the power of the medium, such thoughts have percolated and influenced outlook of majority towards the gender minority. Yet there have been the odd films which contrast this oft adopted approach of Bollywood filmmakers. Though gender scholars have engaged in homoerotic reading of such films and unearthed underlying homosexual subtexts, feasibility of a different discourse about such films stands strong. By analysing films like Silsila, Dosti, Sholay, Dil Chahta Hai, Zindegi Na Milegi Dobara and Rang De Basanti this article relooks at tenability of homoerotic subtexts of these films. Specifically employing the theoretical framework of bromance, a form of homosocial bonding between individuals of the same sex, this article counters the conclusion of scholars about blurring of homosociality and homoeroticism in respect to characters portrayed in the selected films. This article argues that bromance films, made during the 20th century and thus far in 21st century, attempts to dismantle homohysteria and homophobia. Intentions of such filmmakers were to sensitize viewers about romantic same- sex bonding, not necessarily falling within the purview of sexual attraction or homosexuality.
    [Show full text]
  • The Queer Rhetoric of Bollywood: a Case of Wykorzystując Przypadki "Błędnie Przypisanej Tożsamości"
    The Queer Rhetoric of Bollywood: A case of wykorzystując przypadki "błędnie przypisanej tożsamości". mistaken identity ______________________ Introduction Rohit K. Dasgupta The term "queer" has avoided a conceptual pinning down. Aligning itself with postmodern and poststructuralist theory, "queer" moves STRESZCZENIE: Artykuł "Bollywoodzka retoryka queer. beyond the limitations imposed by the categories of "gay," "lesbian," Tożsamościowe qui pro quo " analizuje queerowe ujęcia postaci "bisexual" and "transgender." It avoids closure through its fluidity of literackich i homoseksualności w indyjskim kinie hindi, ze signification and appropriation. However, it also marks a break from szczególnym uwzględnieniem pojęć dosti i yaarana oraz tropu postmodern and poststructuralist high theory by choosing to trójkąta homospołecznego. Wybrana seria filmów zakłada maintain its allegiance to socio-political transformation. Jackie istnienie homoseksualności, jednocześnie postulując Stacey points out that "it is precisely this convergence of the nieuchronność heteroseksualności. Filmy te skupiają się na theoretical and the political which has given the term such tradycyjnych tematach społecznych, takich jak miłość, rodzina czy a generative and yet elusive life." Queer, according to Stacey, "can tradycja, ale w obrębie tej tematyki budują alternatywne, be played across diverse theoretical and political agendas with "niewidoczne" narracje queerowe. Uwzględniając przenikanie się a range of different consequences" (Stacey, 2007:1). "prawdziwej" i "błędnie
    [Show full text]
  • 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
    Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema.
    [Show full text]
  • Media Dossier
    MEDIA DOSSIER Period Covered: February, 2012 Subject: Monthly Media Dossier Medium Appeared in: Print & Online For internal circulation only Monthly Media Dossier February 2012 Page 1 of 82 PERCEPT AND INDUSTRY NEWS Percept Limited Pg 03 ENTERTAINMENT Percept Pictures Pg 08 Percept Sports and Entertainment - Percept S & E – Corp _____ - Percept ICE Pg 24 - Percept Entertainment Pg 26 - Percept Sports Pg 38 - Percept Art _____ - Percept Talent Pg 42 - P9 Integrated Pg 43 - Spark Entertainment _____ - Percept IP _____ Bollywood Corporation _____ MEDIA Allied Media Pg 45 Percept Out Of Home Pg 47 PK Online _____ Percept Activ Pg 48 COMMUNICATIONS Advertising Percept/H Pg 49 MASH Advertising _____ IBD India Pg 57 Percept Gulf _____ H & H Communication _____ Hakuhodo Percept Pg 60 Public Relations Percept Profile India Pg 64 IMC PERSPECTRUM _____ INDUSTRY & COMPETITOR NEWS Pg 66 Monthly Media Dossier February 2012 Page 2 of 82 PERCEPT LIMITED Nobody wanted to hire me Source: The Franchising World, Date: February 2012 issue ************** Is this needed, at all? Source: Mid-day.com, Date: February 25, 2012 While the city is abuzz with the latest news about Saif Ali Khan and a South African businessman, Iqbal Sharma's fight at Taj Mahal hotel recently, it is interesting what kind of reaction this altercation has evoked. While followers may be cleaved into the for-Saif, against-Saif camps, there are the skeptics who believe this may be a publicity stunt for Saif's forthcoming movie, Agent Vinod. While this may sound incredulous, it shows the trust deficit created by the huge hype and the publicity-ke-liye-kuch-bhi-karega tendency these days.
    [Show full text]
  • TRACING the TEMPORAL ASSEMBLAGE of INDIAN MEDIA a Thesis Submitted to the Faculty of the Graduate School O
    THE AFFECTIVE NATION: TRACING THE TEMPORAL ASSEMBLAGE OF INDIAN MEDIA A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Lakshmi Padmanabhan, Bachelor of Arts Washington, DC April 28, 2011 Copyright 2011 by Lakshmi Padmanabhan All Rights Reserved ii THE AFFECTIVE NATION: TRACING THE TEMPORAL ASSEMBLAGE OF INDIAN MEDIA Lakshmi Padmanabhan, Bachelor of Arts Thesis Advisor: Jatinder P. Singh, Doctor of Philosophy. ABSTRACT This thesis examines two films – Slumdog Millionaire (Boyle, 2008) and Dostana (Mansukhani, 2008) to explore the circulation of national identities within these films and the circulation of the films themselves within larger discourses of the nation, particularly India. This thesis argues that our current cultural moment require changing understandings of the idea of ‘film’, to include its multiple networks of capital and affect, and a changing understanding of ‘nation’ as materially illustrated in these films. The aim of this thesis is to conceive of a way to understand films as a collection of temporalities, and to map the duration of these temporalities as they reveal the emerging networks of circulation that change the ontology of both film and nation. I also argue that the ‘nation’ is an affective construct, and that ‘nationness’ is the ‘trace’ or ‘residue’ that these films bear. This argument also marks a specific approach to the idea of a ‘nation’ itself that includes more than the boundaries of the state, or the ethnicity of the people, but begins to address the way objects possess certain national traces, particularly within cultural objects such as the arts.
    [Show full text]
  • Navigation, Search My Name Is Khan Theatrical Poster Directed By
    My Name Is Khan From Wikipedia, the free encyclopedia Jump to: navigation, search My Name Is Khan Theatrical Poster Directed by Karan Johar Produced by Hiroo Yash Johar Gauri Khan Written by Story and Screenplay: Shibani Bathija Dialogues: Shibani Bathija Niranjan Iyengar Starring Shahrukh Khan Kajol Music by ShankarEhsaanLoy Cinematography Ravi K. Chandran Editing by Deepa Bhatia Distributed by Fox Searchlight Pictures Release date(s) 12 February 2010 (global)[1] Running time 161 minutes [1] Country India Language Hindi/Urdu English Budget Rs. 380 million[2] US$ 8.18 million Buyover: Rs. 1 billion US$ 21.53 million My Name Is Khan (Hindi: ??? ??? ??? ????) is a 2010 Bollywood film directed by K aran Johar, with a screenplay by Shibani Bathija, produced by Hiroo Yash Johar a nd Gauri Khan, and starring Shahrukh Khan and Kajol.[3][4] It is overseen by bot h Dharma Productions and Red Chillies Entertainment and will be distributed by F OX Star Entertainment, which bought the rights for the film for the sum of Rs. 1 00 crores, thus becoming the second most expensive Bollywood film, behind Blue.[ 5] Cinematography is by Ravi K. Chandran, ShankarEhsaanLoy composed the film's score, choreography is by Farah Khan, and lyrics were written by Niranjan Iyeng ar.[6] Visual Effects are by Red Chillies VFX. My Name is Khan debuted in Abu Dhabi, UAE on 10 February 2010.[7] It released gl obally in theaters on 12 February 2010.[1] It will also be screened as part of t he 60th Berlin International Film Festival's Official Selection that same month.
    [Show full text]
  • Entertainment Worldwelcome to Entertainment World HERE You
    Welcome To Entertainment WorldWelcome To Entertainment World HERE You Can get all the Latest Movies, Songs, Games And Softwares for free.English Movies English Movies In Hindi Hindi Movies Hindi Songs PC Softwares PC Games Punjabi Songs Disclaimer Search Stuffs On This Blog Latest Hindi ( Bollywood ) Songs : Delhi 6 Billu Barber 42 Kms Jugaad Aasma Luck By Chance Dev. D Jumbo Victory Slumdog Millionaire Raaz The Mystery Continues... Chandni Chowk To China Wafaa Ghajini Meerabai Not Out Sorry Bhai Khallballi Dil Kabaddi Ek Vivaah Aisa Bhi Rab Ne Bana Di Jodi Yuvvraaj Kaashh Mere Hote My friends COLLECTOR ZONE Groovy Corner Masti Zone Movies Zone Categories Animated Movies Applications Bollywood Movies Christmas Dvd Ripped Movies DvdRipped Movies Ebooks English Movie's English Movie's In Hindi English Movies Fun Corner Hindi Movies Hindi Song's Hollywood Movies Masti Cafe Special Mobile Stuff NEWS Old Hindi Movies PC Games PC Software's Punjabi Movies Punjabi Song's Soundtracks Telugu Movies Telugu Songs Tools And Tips Trailer Video Song's Chat Here!!!!!!! Advertise on www.masti.tk Powered By AdBrite But Sponsered By Manveer Singh Your Ad Here HAPPY NEW YEAR HAPPY NEW YEAR 2009 HAPPY NEW YEAR 2009 TO ALL MY SITE VISITORS Labels: Greetings, Masti Cafe Special, NEWS HAPPY NEW YEAR HAPPY NEW YEAR 2009 HAPPY NEW YEAR 2009 TO ALL MY SITE VISITORS Labels: Greetings, Masti Cafe Special, NEWS Lucky by chance 2008HQ320Kbps Original CDRip Music Director : Shankar Ehsaan Loy Cast : Farhan Akhtar , Konkona Sen Sharma Label: Big Music 01.Yeh Zindagi
    [Show full text]
  • Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
    DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr.
    [Show full text]
  • The 40Th Annual Conference on South Asia (2011)
    2011 40th Annual Conference on South Asia Paper Abstracts Center for South Asia University of Wisconsin - Madison Aaftaab, Naheed Claiming Middle Class: Globalization, IT, and exclusionary practices in Hyderabad In this paper, I propose that middle class identity in the IT sector can be read as part of an “identity politics” that claim certain rights and benefits from governmental bodies both at the national and international levels. India’s economic growth since the 1991 liberalization has been attended by the growth of the middle classes through an increase in employment opportunities, such as those in the IT sector. The claims to middle class status are couched in narratives of professional affiliations that shape culturally significant components of middle class identities. The narratives rely on the ability of IT professionals to reconcile the political identities of nationalism while simultaneously belonging to a global work force. IT workers and the industry at large are symbols of India’s entry into the global scene, which, in turn, further reinforces the patriotic and nationalist rhetoric of “Indianness.” This global/national identity, however, exists through exclusionary practices that are evident in the IT sector despite the management’s assertions that the industry’s success is dependent on “merit based” employment practices. Using ethnographic data, I will examine middle class cultural and political claims as well as exclusionary practices in professional settings of the IT industry in order to explore the construction of new forms of identity politics in India. 40th Annual Conference on South Asia, 2011 1 Acharya, Anirban Right To (Sell In) The City: Neoliberalism and the Hawkers of Calcutta This paper explores the struggles of urban street vendors in India especially during the post liberalization era.
    [Show full text]