DOCSLIB.ORG

Film Insurance in India 1. Introduction 2. Size & Scale of Indian Film Industry 3. Factors Leading to Need for Insurance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Insurance in India 1. Introduction 2. Size & Scale of Indian Film Industry 3. Factors Leading to Need for Insurance Film Insurance in India Abstract This paper is aimed at understanding the film insurance in India. The paper is an attempt to trace the development of film insurance in India. It starts with a brief description about size of Indian film industry. Then it explains the situations under which film insurance became unavoidable in India. Further it elucidates the different heads, which are generally covered under the film insurance. The paper further lists, some major insurance players in the industry and their share. It also explains the reasons for lack of propensity towards insurance by major players in film industry. Finally as a conclusion this paper predicts the future of Film Insurance. 1. Introduction In the wake of swine flu scare in the state, the Maharashtra government on 12th Aug09 announced a closure of all Multiplexes in Mumbai and Pune till 16th Aug09. This meant a loss of around 25 crore of revenues for the film industry overall. Films like Kaminey and Life Partner releasing on 14th Aug are expected to have lost 25% of weekly revenues. But the impact of loss was cushioned to a great extent because both films were insured and the losses would be shared by insurance firms with the producer. This clearly illustrates the practice of insuring films helping the film producers to deal with adversities. 2. Size & Scale of Indian Film Industry Since 1931 when first talkie film ³Alam Alra´ was produced, more than 67000 films have been produced in about 30 different languages and dialects. In 2001 the industry produced 1,013 films making it the world's largest feature film producer. Although south Indian films made in four languages viz. Tamil, Telugu, Kanada and Malayalam are more in number as compared to Hindi language films, but the Hindi language films take the largest box office share. According to Pricewaterhouse Coopers report the Indian film industry is expected to grow at CAGR of 11.6 % reaching Rs 185 billion in 2013 from present Rs 107 billion in 2008. The major contributors to this revenues are theatrical sales, overseas rights, music rights, television and video rights , corporate sponsorship and merchandising in that order. The Figure 1 clearly illustrates the growth and major segments contributing to growth of the Indian film industry. (Source: http://www.interworld.co.in/digital_cinema/industryOverview.php retrieved on 27Aug09, all figures in Billion Rupees) Figure 1 3. Factors leading to Need for Insurance There are various factors that have led the producers to readily accept and acknowledge insurance for their films. Let us examine each of the factors in detail. a. The intriguing romance between risk and reward in the film industry. When we analyze the development of film industry from its golden age (year 1940s to 1960s) we find that, as compared to that time film making has become a costly and risky proposition today. Due to the immense growth in technology and the entrance of Hollywood studios, now making a film involves a huge sum of money and depends on several contingencies. Huge sets, highly risky stunt scenes, outdoor and foreign locations, very sensitive equipments, a huge amount of compensation paid to the actors and a lot other factors, has made Indian Films a very risky business. As compared to budgets that big banner films had in golden ages to the films being made today, there has been a huge increase. The number of films that go flop in a year is also an indicator of the risks involved. Take the case, this year out of over 60 Hindi movies released so far only three movies viz New York, Kaminey and Love Aaj Kal have been able to perk up the business and end up with net profit. In addition to risk of film flopping at the box office, the producers are also susceptible to several other risks. Financial risks involve raising of funds from various financers like banks, FII¶s, private financers. Production risks involve film production getting extended beyond schedule, overspending and extra expenditure due to accidents on sets. On the other hand distribution and exhibition risk, risks due to piracy and post release risk also involve distributors, exhibitors. This clearly demands some kind of mechanism through which a producer can be assured that; in case of these contingencies he will be indemnified. b. Unforeseen contingencies There are numerous unforeseen adverse conditions that affect the box office collection of a movie. One such example is given in the Introduction section of this paper where producers lost out on 25% of revenues because multiplexes in couple of metros were closed due to swine flu scare. There are many more incidents that affect the performance a film at box office. However it was arrest of Sanjay Dutt during 'Khalnayak' which prompted Subhash Ghai to insure his next movie 'Taal' for which he paid Rs 1.5 million as premium for the film valued at Rs 110 million. c. Drop in percentage of insurance premium. Initially it was felt that paying a premium of 6 per cent of the production cost, as is prevalent abroad would be too steep for Indian film producers. However, as time has passed premiums have dropped to as low as 1%, as more and more producers opted for cover. d. Film production got an Industry status in the year 1998. Film production got the industry status in 1998 and RBI allowed banks to lend for film production. On security aspect, RBI stipulated that lending institution should take rights to negatives of the films being financed. In addition to this RBI asked banks to take as security items like music, audio or video rights, CD or DVD rights, internet rights and satellite rights. This led to production houses lining up to banks to get finances. However banks insisted on corporatisation and risk insurance as perquisite for loans. e. Corporatisation of Film Industry Over the years there has been a significance rise in corporate houses producing films. Reliance¶s Big Entertainment, UTV, Pritish Nandy Communications, Percept pictures are some prominent production houses who are involved in film producing in an organised way. 4. Film Insurance current scenario, major players Producer Yash Chopra claimed a compensation of Rs. 3.5 million from United India Insurance when Aishwarya Rai had an accident, her shooting schedules were disturbed and a set that was put up had to be brought down. This is was the first instance when the insurance benefits were claimed by a producer. Ever since the movie Taal was insured more and more producers have rushed to insure their movies. The Table 1 shows some prominent movies that were insured and the premiums for which they were insured. Movie Producer Insurance (Rs. millions) Taal Mukta Arts 120 Mohabatein YashRaj Films 150 Lagaan Aamir Khan Productions 150 Kabhi Khushi Kabhi Gham Karan Johar 220 Ashoka Shahrukh Khan 70 Dil Chahta Hai Ritesh Sidhwani 180 Ek Aur Ek Gayarah David Dhawan 100 Kuch Na Kaho Ramesh Sippy 140 Deewaar Gaurang Doshi 300 Table 1 Apart from the above mentioned movies some other movies were also insured such as Saathiya, Joggers Park, Asambhav, Chalte Chalte, Main Hoon Na, Taj Mahal, Khel, Ganga Jal, Kal Ho Na Ho, Lakshya etc. United India Insurance (UII) has been the largest player in India in the film insurance market. It has insured over 50 films and is expecting to double this figure soon. Bajaj Allianz General Insurance Co is another firm that is also into the film insurance business in a big way. It has witnessed a 50% increase in premium during the year 2006 and expects a premium growth of 30% for the next few years. Although the state-run Oriental Insurance Company ventured into the film insurance business by underwriting a Hindi film few years ago, it has restricted its business to insuring star nights and cricket matches since then. Another state-run New India Assurance Co insured the Rajnikanth starrer, Sivaji The Boss. Hindi films like Babul and Baghban were some of the Bollywood films that have been insured by New India Assurance Co. Normally, the premium charged by an insurance company for insuring a film comprises 1%-1.5% of the total budget of the film. 5. Film Insurance types and coverage extent Leading insurance companies have agreed to compensate for delays and losses due to cyclones, bandhs, strikes, adverse weather conditions and traffic interruptions as well as harm to individuals involved in film-making. Depending on the type of policy one takes, insurance in Hindi films can be grouped under the following broad heads. 1. Named Artistes such as the Main Cast, Important Support Cast, Directors, Technicians etc. 2. Properties, Sets, Production Equipments, Negatives etc.. 3. Public Liability 4. Money Insurance 5. Workmen Insurance 6. Accident Insurance 5.1 Choice of Type of Policy & Coverage head Once again, the type of policy you want relies on the type of film you plan to make. Obviously, if you are making a short documentary film, the type of policy you want will differ from a filmmaker who aims to make a feature-length film. There are basically three types of policies: short-term, long-term and annual. Short-term policies are used for single production, such as a commercial. A long-term policy is used for several projects during a longer period of time. An annual policy is reserved for ongoing projects, such as documentaries, industrial, commercials and education (DICE). DICE policies typically last for one year. For a typical movie various covers typically exist. Depending on the type of movie one is making, one will need to take one or all of the above coverage¶s as a part of the policy.
Load more

Recommended publications
  • Special Mentions
    SPECIAL MENTIONS The following matters of Public Importance were laid on the Table with the permission of the Chair during the Session: — Sl.No. Date Name of the Member Subject Time taken Hrs.Mts. *1. 21-08- Shri Lalit Kishore Need to release funds for 2007 Chaturvedi renovation of National Highways in Rajasthan. 2. -do- Shri Motilal Vora Concern over the shortage of seeds with Chhattisgarh Seed Development Corporation. 3. -do- Shrimati Brinda Concern over import of wheat at a Karat high price. 4. -do- Shri Abu Asim Azmi Concern over delay in Liberhan 0-01 Commission Report. 5. -do- Shri Santosh Demand to ban toxic toys. Bagrodia 6. -do- Shrimati N.P. Durga Need to appoint at least two teachers in every school in the Sl.No. Date Name of the Member Subject Time taken Hrs.Mts. country. 7. -do- Shri Dharam Pal Demand to make strict laws to curb Sabharwal smear campaign by Media. 8. 21-08- Shri Thennala G. Demand to take measures to check 2007 Balakrishna Pillai outbreak of Chikunguniya and Dengue fever in Kerala. 9. -do- Shri Pyarelal Concern over unprecedented Khandelwal increase in the prices of medicines. 10. -do- Shri Jai Parkash Need to take advance measures to Aggarwal protect telecom and other services from probable dangers of strong solar rays. 11. -do- Shri Saman Pathak Demand to improve the condition of National Highways in the North- Eastern region. 12. -do- Shri Moinul Hassan Demand to re-constitute Jute 0-01 Advisory Board and Jute Development Council. Sl.No. Date Name of the Member Subject Time taken Hrs.Mts.
    [Show full text]
  • Supreme Court of India Bobby Art International, Etc Vs Om Pal Singh Hoon & Ors on 1 May, 1996 Author: Bharucha Bench: Cji, S.P
    Supreme Court of India Bobby Art International, Etc vs Om Pal Singh Hoon & Ors on 1 May, 1996 Author: Bharucha Bench: Cji, S.P. Bharucha, B.N. Kirpal PETITIONER: BOBBY ART INTERNATIONAL, ETC. Vs. RESPONDENT: OM PAL SINGH HOON & ORS. DATE OF JUDGMENT: 01/05/1996 BENCH: CJI, S.P. BHARUCHA , B.N. KIRPAL ACT: HEADNOTE: JUDGMENT: WITH CIVIL APPEAL NOS. 7523, 7525-27 AND 7524 (Arising out of SLP(Civil) No. 8211/96, SLP(Civil) No. 10519-21/96 (CC No. 1828-1830/96 & SLP(C) No. 9363/96) J U D G M E N T BHARUCHA, J. Special leave granted. These appeals impugn the judgment and order of a Division Bench of the High Court of Delhi in Letters Patent appeals. The Letters Patent appeals challenged the judgment and order of a learned single judge allowing a writ petition. The Letters Patent appeals were dismissed, subject to a direction to the Union of India (the second respondent). The writ petition was filed by the first respondent to quash the certificate of exhibition awarded to the film "Bandit Queen" and to restrain its exhibition in India. The film deals with the life of Phoolan Devi. It is based upon a true story. Still a child, Phoolan Devi was married off to a man old enough to be her father. She was beaten and raped by him. She was tormented by the boys of the village; and beaten by them when she foiled the advances of one of them. A village panchayat called after the incident blamed Phoolan Devi for attempting to entice the boy, who belonged to a higher caste.
    [Show full text]
  • Akshay Kumar
    Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr.
    [Show full text]
  • Death-Penalty-Pakistan
    Report Mission of Investigation Slow march to the gallows Death penalty in Pakistan Executive Summary. 5 Foreword: Why mobilise against the death penalty . 8 Introduction and Background . 16 I. The legal framework . 21 II. A deeply flawed and discriminatory process, from arrest to trial to execution. 44 Conclusion and recommendations . 60 Annex: List of persons met by the delegation . 62 n° 464/2 - January 2007 Slow march to the gallows. Death penalty in Pakistan Table of contents Executive Summary. 5 Foreword: Why mobilise against the death penalty . 8 1. The absence of deterrence . 8 2. Arguments founded on human dignity and liberty. 8 3. Arguments from international human rights law . 10 Introduction and Background . 16 1. Introduction . 16 2. Overview of death penalty in Pakistan: expanding its scope, reducing the safeguards. 16 3. A widespread public support of death penalty . 19 I. The legal framework . 21 1. The international legal framework. 21 2. Crimes carrying the death penalty in Pakistan . 21 3. Facts and figures on death penalty in Pakistan. 26 3.1. Figures on executions . 26 3.2. Figures on condemned prisoners . 27 3.2.1. Punjab . 27 3.2.2. NWFP. 27 3.2.3. Balochistan . 28 3.2.4. Sindh . 29 4. The Pakistani legal system and procedure. 30 4.1. The intermingling of common law and Islamic Law . 30 4.2. A defendant's itinerary through the courts . 31 4.2.1. The trial . 31 4.2.2. Appeals . 31 4.2.3. Mercy petition . 31 4.2.4. Stays of execution . 33 4.3. The case law: gradually expanding the scope of death penalty .
    [Show full text]
  • Crimeindelhi.Pdf
    CRIME IN DELHI 2018 as against 2,23,077 in 2017. The yardstick of crime per lakh of population is generally used worldwide to compare The social churning is quite evident in the crime scene of the crime rate. Total IPC crime per lakh of population was 1289 capital. The Delhi Police has been closely monitoring the ever- crimes during the year 2018, in comparison to 1244 such changing modus operandi being adopted by criminals and crimes during last year. adapting itself to meet these new challenges head-on. The year 2018 saw a heavy thrust on modernization coupled with unrelenting efforts to curb crime. Here too, there was a heavy TOTAL IPC CRIME mix of the state-of-the-art technology with basic policing. The (per lakh of population) police maintained a delicate balance between the two and this 1500 was evident in the major heinous cases worked out this year. 1243.90 1289.36 Along with modern investigative techniques, traditional beat- 1200 1137.21 level inputs played a major role in tackling crime and also in 900 its prevention and detection. 600 Some of the important factors impacting crime in Delhi are 300 the size and heterogeneous nature of its population; disparities in income; unemployment/ under employment, consumerism/ 0 materialism and socio-economic imbalances; unplanned 2016 2017 2018 urbanization with a substantial population living in jhuggi- jhopri/kachchi colonies and a nagging lack of civic amenities therein; proximity in location of colonies of the affluent and the under-privileged; impact of the mass media and the umpteen TOTAL IPC advertisements which sell a life-style that many want but cannot afford; a fast-paced life that breeds a general proclivity 250000 223077 236476 towards impatience; intolerance and high-handedness; urban 199107 anonymity and slack family control; easy accessibility/means 200000 of escape to criminal elements from across the borders/extended 150000 hinterland in the NCR region etc.
    [Show full text]
  • “Low” Caste Women in India
    Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny.
    [Show full text]
  • Of Grandeur and Valour: Bollywood and Indiaís Fighting Personnel 1960-2005
    OF GRANDEUR AND VALOUR: BOLLYWOOD AND INDIAíS FIGHTING PERSONNEL 1960-2005 Sunetra Mitra INTRODUCTION Cinema, in Asia and India, can be broadly classified into three categoriesópopular, artistic and experimental. The popular films are commercial by nature, designed to appeal to the vast mass of people and to secure maximum profit. The artistic filmmaker while not abandoning commercial imperatives seeks to explore through willed art facets of indigenous experiences and thought worlds that are amenable to aesthetic treatment. These films are usually designated as high art and get shown at international film festivals. The experimental film directors much smaller in number and much less visible on the film scene are deeply committed to the construction of counter cinema marked by innovativeness in outlook and opposition to the establishment (Dissanayke, 1994: xv-xvi). While keeping these broad generalizations of the main trends in film- making in mind, the paper engages in a discussion of a particular type of popular/ commercial films made in Bollywood1. This again calls for certain qualifications, which better explain the purpose of the paper. The paper attempts to understand Bollywoodís portrayal of the Indian military personnel through a review of films, not necessarily war films but, rather, through a discussion of themes that have war as subject and ones that only mention the military personnel. The films the paper seeks to discuss include Haqeeqat, Border, LOC-Kargil, and Lakshya that has a direct reference to the few wars that India fought in the post-Independence era and also three Bollywood blockbusters namely Aradhana, Veer-Zara and Main Hoon Na, the films that cannot be dubbed as militaristic nor has reference to any war time scenario but nevertheless have substantial reference to the army.
    [Show full text]
  • NEIL PATEL PRODUCTION DESIGNER Neilpatel.Space
    NEIL PATEL PRODUCTION DESIGNER neilpatel.space/ TELEVISION JIGSAW (Season 1) Netflix Prod: Brian Kavanaugh-Jones, Carina Sposato Dir: Various DICKINSON (Season 2) Wiip/Apple Prod: Adela Amerian, Hailee Steinfeld, Lisa Michel Dir: Various ALMOST FAMILY (Pilot) Universal TV/Fox Prod: Annie Weisman, Sharon Levy, Lori Douglas Dir: Leslye Headland THE VILLAGE (Season 1) Universal TV/NBC Prod: Jessica Rhoades, Mike Daniels, Minkie Spiro Dir: Various Lori Douglas ERASE (Pilot) UCP/USA Prod: Alex Cary, Denis Leary, Jim Serpico Dir: Michael Offer Kerry Orent NO WAY BACK (Pilot) Universal/NBC Prod: Jessica Goldberg Dir: Brad Anderson THE PATH (Season 2&3) Universal/Hulu Prod: Jason Katims, Jessica Goldberg Dir: Varous SEX & DRUGS & Apostle Prod./FX Prod: Denis Leary, Jim Serpico, Tom Selitti Dir: Various ROCK & ROLL (Season 2) BILLY & BILLIE (Pilot & Season 1) Contemptible Ent./ Prod: Chris Long, Tim Harms Dir: Neil LaBute DirecTV DRUNK GIRL HIGH GUY (Pilot) A24/Comedy Central Prod: John Hodges, Ravi Nandan Dir: Ryan McFaul IRREVERSIBLE (Pilot) Sony/ABC Prod: Peter Tolan, David Schwimmer Dir: Sigal Avin HAMMERHEAD (Pilot) It’s Note Too Late Prod. Prod: Kerry Orent, Tony Gilroy Dir: Dean Imperial IN TREATMENT (Seasons 2&3) Leverage Management/ Prod: Stephen Levinson, Hagai Levi Dir: Various HBO FEATURES AARDVARK Before The Door Prod: Neal Dodson, Zachary Quinto Dir: Brian Shoaf LITTLE BOXES Netflix Prod: Cari Fukunaga, Jared Goldman Dir: Rob Meyer DIL DHADAKNE DO Excel Entertainment Prod: Farhan Akhtar, Ritesh Sidhwani Dir: Zoya Akhtar LOITERING WITH INTENT Parts and Labor Prod: Jay Van Hoy, Marissa Tomei Dir: Adam Rapp SOME VELVET MORNING Tribeca Films Prod: Kevin Sisti Jr., Tim Harms Dir: Neil LaBute COMMERCIALS Netflix (House of Cards Promo), Netflix (Orange Is the New Black Promo), WalMart (The Receipt) 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .
    [Show full text]
  • Download Songs of Kaisa Yeh Pyar Hai Serial
    Download Songs Of Kaisa Yeh Pyar Hai Serial Download Songs Of Kaisa Yeh Pyar Hai Serial 1 / 3 2 / 3 Search free kaisa yeh pyar hai ringtones and notifications on Zedge and personalize your phone to suit you. Start your search now and free your phone.. 22 Dec 2011 - 2 min - Uploaded by MsFahadkhan786Kaisa Yeh Pyar Hai Song With Download Link.flv. MsFahadkhan786. Loading. ... it is very .... 27 Feb 2014 ... Kaisa yeh pyar hai serial title song free download, bg tune, kaisa yeh pyar hai full title song mp3 download, kaisa yeh pyar hai title song mp3 .... Kaisa Yeh Pyar Hai - Instrumental. By Sanjeev Darshan. 2000 • 1 song, 5:43. Play on Spotify. 1. Kaisa Yeh Pyar Hai - Instrumental. 5:430:30. Featured on Khiladi .... Kaisa Ya Pyar Hai Sad, kaisa ye pyar hai full song (sad) Mp3 Link.flv, Kaisa Yeh Pyaar Hai Soundtrack 5 - Tha Paas Sab Mere Par Kuch Kami, Kaisa yeh pyar .... Kaisa Yeh Pyar Hai MP3 Song by Kumar Sanu from the movie Khiladi 420. Download Kaisa Yeh Pyar Hai song on Gaana.com and listen offline.. 9 Dec 2007 - 40 secA Balaji Telefilms production, 'Kaisa Ye Pyar Hai' is the classic love story of two unique .... Kaisa Yeh Pyaar Hai (TV Series 2005–2006) SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and more.... 7 results for "sony tv serial title song free download kaisa yeh p..." in QuikrCars, Hyderabad. Search instead in : More Categories. 7 Results on 12 October, 2018.. Watch Trailers, Photos and wallpapers of KAISA YEH PYAR HAI.
    [Show full text]
  • Goldmedal Collaborates with Farhan Akhtar Starer Toofaan
    Goldmedal Electricals collaborates with this year’s most-awaited release — Farhan Akhtar starrer TOOFAAN Toofaan is presented by Amazon Prime Video in association with Excel Entertainment and ROMP Pictures. Toofaan is produced by Ritesh Sidhwani, Rakeysh Omprakash Mehra and Farhan Akhtar The film stars Farhan Akhtar, alongside Mrunal Thakur, Paresh Rawal, Supriya Pathak Shah and Hussain Dalal in pivotal roles and is directed by Rakeysh Omprakash Mehra Prime members in India and across 240 countries and territories can stream Toofaan exclusively on Amazon Prime Video starting July 16, 2021 Mumbai, 6th July 2021 – Goldmedal Electricals, a leading home-grown fast moving electrical goods (FMEG) company has entered into a brand association with the upcoming inspirational sports drama, ‘Toofaan’. Presented by Amazon Prime Video in association with Excel Entertainment and ROMP Pictures, Toofaan is an inspiring sports drama produced by Ritesh Sidhwani, Rakeysh Omprakash Mehra and Farhan Akhtar. The film’s high-octane trailer takes us through the journey of a local goon, Ajju Bhai becoming a professional boxer, Aziz Ali. Toofaan is a tale of hope, faith and inner strength fuelled by passion and perseverance. The film will premiere on Amazon Prime Video on 16th July across 240 countries and territories. Goldmedal's rationale behind associating with Toofaan is in line with its passion of making innovative, world-class products that create amazing lifestyles. The main protagonist in the movie perseveres against all odds to follow his passion and thus achieve his goals – it’s the story of an amazing turnaround against insurmountable challenges. Goldmedal is a brand that is passionate about the quality of products it manufactures.
    [Show full text]
  • Dil Karta Hai Sadko Par Jor Se Gaau Sab Apne Apne Ghar Ki Khidaki
    India’s platform for Events and Experiential Marketing Print Newsletter September 2008 14 Photographer - Abheet Gidwani Photographer - …Dil Karta Hai Sadko Par Jor Se Gaau Sab Apne Apne Ghar Ki Khidaki Khole Phir Main Aise Joshilein Geet Sunaau Mere Geeto Ko Sunke Sab Yeh Bolein Rock On, Hai Yeh Waqt Ka Ishaara… Ritesh Sidhwani, Producer, ‘Rock On’ BY JAGADEESH KRISHNAMURTHY ne wonders whether the lyrics at Infiniti Mall, Andheri, where concerts were managed by Big complete 360-degree marketing Oof the song ‘Rock On’, from Farhan Akhtar introduced the Music and Excel Entertainment’s effort, involving traditional the movie by the same name, songs by singing them on-stage. marketing team. mediums like radio, print, and inspired the promoters to take In Delhi, a full-fledged concert television too. “Along with these the on-ground route in such traditional mediums, an unprecedented manner, we also had a lot of on- to promote the movie. The ground activity going movie, based on a rock on for the film with live band, is filled with music concerts before and after concerts and shows. These the release of the movie,” were replicated on ground he explained. as part of its promotions across the country – and On the idea behind live abroad soon. concerts for promoting the movie, Sidhwani added, The rock band from the “It (live events) blends movie, MAGIK, comprises itself into the movie as it of actors Farhan Akhtar, forms a major part of the Arjun Rampal, Purab Kohli storyline. I don’t know and Luke Kenny. They whether I can do it for my performed in front of live next films.” audiences in Mumbai and Delhi.
    [Show full text]
  • Page 01 Dec 06.Indd
    THURSDAY 6 DECEMBER 2012 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Search for life begins COMMUNITY under Antarctic ice P | 12 • Art expo marks launch of RasGas’ CSR programme P | 4-6 HEALTH • Doctor, patient trust beats pain, stress • Dental cleaning P | 7 EYE ON MOVIE • Letterman, Hoffman, Zeppelin honoured by Obama EARTH P | 8-9 HOSPITALITY • How to make the perfect: Oatmeal P | 10 LAW • Do not hand in During the years the a blank cheque! Landsat programme has • The rules for sick leave been active, its big eye has seen changes on P | 11 Earth regarding water, PLUS... food, forest, urban growth • Comics, Word Puzzles, and glaciers and ice. Crosswords, Hyper Sudoku, Kakuro, TV listings and more P | 2-3 P | 13-15 2 PLUS | THURSDAY 6 DECEMBER 2012 COVER STORY Impact of climate Jack A Kaye, associate director for Research change of Science Mission Directorate of Nasa, has travelled to Doha to on Earth share his expertise. by Isabel Ovalle happening to this planet in relation to temperature and asa, the National precipitation. We are trying Aeronautics to launch a satellite in 2013 and Space to measure soil moisture and NAdministration of we’ll launch another one in the US, puts its experts, tech- 2014 to improve our ability nology and satellites to use for to measure precipitation,” he the evaluation of the impact of added. climate change on Earth. Satellites also measure Among these satellites solar radiation. “If you have is the Landsat programme, data you can begin to make which recently celebrated its connections, look at pollut- 40th anniversary.
    [Show full text]