Review of Literature

According to http//www.iloveindia.com, http//www.ibef.org a report jointly published by the Federation of Indian Chambers of Commerce and Industry (FICCI) and KPMG, the media and entertainment industry in India is likely to grow 12.5 per cent per annum over the next five years and touch US$ 20.09 billion by 2013.

According to http//www.thinkexist.com entertainment Industry in India comprises of Film Industry and Television Industry. The Indian entertainment industry is among the fastest growing sectors in the country. In the past two decades entertainment industry in India has witnessed explosive growth. In television alone, from a single state owned television network, Door- darshan in 1991, today there are over 300 national, regional and local channels being beamed across the country. Indian film industry is the largest film industry in the world, producing on an average, close to a thousand films a year in all languages. In terms of film production India exceeds Hollywood's production volume by over three times. Some of the fastest growing segments in the Indian entertainment industry include music, cable and satellite television, animation and FM.

According to an estimate by FICCI and Ernst and Young Indian entertainment industry would worth more than Rs. 400,000 million in 2008. Several positive developments like the accordance of the 'industry' status to the film industry, satellite channel penetration, the retail boom in the channels for music sales (Music World & Planet M), the use of digital technology in all spheres of entertainment and the growth of multiplexes have contributed to the growth of this sector. According to Marketing Research by Rajendra Nargundkar- The McGraw-Hill companies entertainment industry in India is presently in a consolidation phase as boundary lines between films, music and television are fast disappearing. Skills and resources are being pooled extensively. Besides adaptation to high-end digital technology, the entertainment industry is also witnessing rapid development of state-of-the-art studios and post production facilities. The Television industry is witnessing a spate of new channels being launched every year. TV is also penetrating into the rural areas and is a promising segment. Homes with TVs are expected to grow from 112 million to 200 million in a few years.According to Marketing Concepts and Cases by Michael J Etzel, Bruce J Walker-The McGraw-Hill companies India boasts of being the third largest television market in the world today. And cable penetration (pay TV market) is expected to grow from the present 70 million to all TV homes. More than 350 channels (paid and free) are available to viewers in India today. The fact that 40 per cent households of India are still without television connectivity highlights the scope of growth in the segment. The majority of the revenue generated in the television industry is through advertisements, followed by subscriptions. The Indian television advertisements market is currently valued at about US$ 1,067 million and is expected to grow at a rapid rate with the increase in the number of channels and the television viewers. Over the next five years, the subscription revenues are poised to be the growth driver of the Indian television industry. The number of pay TV homes and the increased subscription rates will increase the subscription revenues. The spread among the lower- income groups is very low and offers a wide scope for growth. The Indian television industry is currently being dominated by Star India, which is the top player in the sector at present.

Freire Project (2013) reveals that television in India passes fifty years‘ service. We have a lot of studies available on its various impacts and status. The television began in India amazingly. It was an idiot box once. But the scene is changed. It is a most wanted pet in almost all parts of the nation. Both towns and villages keep the ‗box‘ as a special part of socio cultural life. As all historians point out, television began as a medium for instruction, now it is termed for information, entertainment, and infotainment and for commercials. The instructional purpose is minimized and other areas developed in a large way. The extended use of television creates a new enthusiasm and cultural entity. Positive and negative impacts are identified by researchers and critics. City folk and village people swallow what they get from media; especially from television is the new custom. The hidden agenda behind media content is not a concern to the normal television watchers. We have to critically evaluate the present situation and media environment.

Singh, J. (2011) found that although, there exists no consensus about the impact of television commercials on the social and moral behavior of viewers, the accusations that we come across in past research are grave. This study is an attempt to examine the same in India. An empirical analysis of the views of 520 respondents revealed that television commercials undermine social, moral and religious values and negatively influence human behavior. They violate ethical norms and disrespect the integrity of cultures, the consequences of which manifest themselves in the form of degradation of women, sexual preoccupation and boost to materialism. Degradation of relationships in Indian families and the misleading and untruthful content of television commercials are yet other points of concern highlighted by the study.

Barathi, C., Balaji, C. D., Meitei, I. (2011) point out the entertainment sector in India is poised for a compounded annual growth rate of 20% according to a recent KPMG report. The key factors that are driving the growth of the media and entertainment industry in India are the favourable demographics, growing literacy, increasing affluence, development of technology, government support and the growing interest in the Indian way of life. The never before seen growth in the sector has been the result of the growing number of television channels, FM radio channels, rising popularity of social media, growing demand for content from mobile operators which is expected to further increase with the growth of 3G services and innovations of technology. This has resulted in the availability of entertainment anywhere and at anytime at the touch of a button and has ensured wide spread reach of the industry. During the year 2010, the media and entertainment industry grew by 11 percent and recorded revenues of Rs.65,200 crore. The growth in advertising revenues by 17 per cent to Rs.26,600 core, increase in subscription revenues, increasing variety of rich content coupled with the opportunity for its monetization and the government‘s thrust to digitization are expected to aid in the robust growth of the sector. This paper is an in depth analysis of the various components of the Indian entertainment sector, the current scenario and challenges in the print and electronic space, the growth opportunities and the future potential.

Iindiantelevision.com Team (2002) explore that the war of soaps is on and the media covers the TRP & TVR to the hilt. But of late news is back in news. Amidst this scenario, what the media has forgotten is that TV is not just the cable & satellite world. It's much larger; the audiences are wider and spread across. The C&S world is miniscule compared to all TV homes and that's what the New Delhi based BAG Films is trying to exploit through its news programme called Rozana which will soon resurface on DD Metro in the post10 pm slot. Rozana, with the essence of last 24 hours encapsulated in 24 minutes, is being given a different flavour; a flavour of the way the news is going to affect a commoner. The capsule will have 12 broad platforms, from news headlines and analysis to investigative reporting to public concern areas to crime reports to la Rubaru and a dialogue with the most controversial personality of the week.

BARC INDIA (2013) raised the biggest question that has been answered is that of reporting frequency. In an official communication, BARC India has said that the frequency of reporting is likely to be weekly except for certain data types for which it might aggregate the data by period, time band or geography. It also says that since currently the number of households with multiple TV sets is low, it won‘t be reporting this number separately but will still measure multiple TVs wherever it may be in sample households. At the same time it is aiming at releasing viewership data and adex data simultaneously. The upcoming ratings agency also claims to be future ready by having the technology that will allow it to report even time shift viewing from the first day.

A stringent monitoring process is on the cards. BARC India is looking at appointing a senior police official for heading vigilance. But it says that the data collection format and technology that it uses makes it highly unlikely for tampering. Watermarking technology can also support capturing cable TV channels and if MSOs want their channels to be measured, they can invest in the embedding technology. However, no MSO biases would be considered for sampling as the panel would be a reflection of what people watch. For its extensive and advanced technology, it is looking at an ingenuous pricing model that will make affordable data available to the last mile.

Srivastava P. (2013) posted that it cannot get any better than this for couch potatoes. With several big television shows running on various channels simultaneously, the Indian audience is spoilt for choice. All eyes are set on the small screen also because a number of shows featuring big stars have gone on air in the last few weeks. The war between various General Entertainment Channels (GECs) reached its peak, with the launch of new shows such as Mahabharat on Star Plus, Kaun Banega Crorepati 7 on Sony and Bigg Boss 7 on Colors.

Iindiantelevision.com Team (2003) fount that the DD is back in the limelight this year. A large part of this can be attributed to its coverage of the Iraq conflict. The broadcaster had put its plans for live coverage in place before the conflict had broken out. DD had commissioned the war reportage to Third Eye for Rs 500,000 a day for half-hour coverage. The pay off came in the form of an 11-million viewer share. This left the other channels scrambling for crumbs with shares hovering around the two million mark. This is remarkable as in the not too distant past DD has often been accused of being behind with up to date events due to the bureaucratic interference. Like its western counterparts BBC and CNN the grandfather of Indian television became tech savvy by using the portable newsgathering solution vid ‗link MOBILE. The system will be used for domestic and international newsgathering.

Khandai, S., Agrawal, B. (2012). The kid market is a burgeoning market worldwide. A similar situation exists in India where the kid market is estimated at Rs.5000 crores / $110 million. The sheer size of the market reveals how strategically important this market is for the advertisers and the marketers. Having realized the long term implications of addressing this market, the marketers have devised marketing and advertising strategies specifically aimed at this target audience. The kid market in India, more commonly referred to as the ―tweenager‖ (8 to 14 Year olds) possesses enormous purchasing power which could probably be attributed to the increasing discretionary income of households. Children today are assuming the role of decision makers from a relatively young age. Marketers use different media vehicles to communicate with this target audience. A media vehicle which the kid market is very conversant with is television. Television viewing by children has been increasing at an exponential rate over the last few years in India and abroad. Consequently, television commercials appear to have a large impact upon the brand preference and purchase behavior of children.

Indiantelevision.com's Breaking News (2003) posted news on the TRP war has spilled over to the infotainment channels as well. While these niche channels bag a small portion of the ratings pie, they are quite crucial in decision making segment, grabbing as do quite a few of the SEC A, B eyeballs. While Star's infotainment arm National Geographic Channel (NGC) issued an ad recently in leading dailies claiming its right to the top spot, One Alliance's Discovery Channel has shot down the claims with a 25 page riposte armoured with graphs. Ads in a leading daily last week had claimed that NGC has captured almost 74 per cent the lion's share in the TRP pie amongst the three infotainment channels: NGC, Discovery and Animal Planet. While Animal Planet (sibling of Discovery), according to the supplied TAM data for week ended 22 November 2003, (4+ ABC with C & S six metros), grabs a minuscule two per cent share, closest competitor Discovery nets 24 per cent share. NGC, in the ad, also claimed that it has 10 out of the top 10 programmes and 37 of the top 50 programmes in its genre. The ad proclaims it to be 16 places ahead of Discovery in channel ranking based on all India shares. Quoting TAM data, the channel also claims it has bagged the numero uno position with the help of blockbusters like Egypt, Mission Everest and Secret Unveiled.

Speaking to indiantelevision. com, NGC's assistant vice president marketing, India, Puneet Johar offered, "Last quarter was very good for us. Our average share for October and November was 0.45 against Discovery's 0.38 and Animal Planet's 0.21. Elephant Family: Bonds of Life, which was aired on 11 November 2003 at 12 pm, tops the chart for this quarter. The programme garnered a TVR of 1.8 per cent with a reach of 2.7 percent."

Press Trust of India (2013) depicts that the Paid news has brought down the "Chinese wall" between advertisements and editorial content, raising questions on the credibility of several stories in the media, feel leading journalists and commentators. "The Chinese wall that existed between advertising and editorial content 25 years ago, that wall doesn't exist anymore. Editors earlier would keep advertisers at arm's length but today have lost the capacity to say no. Paid news is now seen as the equity in return for good information," said Rajdeep Sardesai, editorinchief, CNNIBN. Addressing a gathering as part of a media festival organised by the Indian Institute of Mass Communication here, he raised the issue of "independence and autonomy of the editor and editorial content" in the face of the onslaught of what he called as "proprietor editors". "Do editors today have the independence and the autonomy to say no? We have channels now owned by 'proprietor editors', real estate barons and chicken poultry farm owners. And, editors are caught up in a tug-of-war between journalism and ownership," he added. Sardesai said that journalism today has "lost its moral compass" and has "turned into decibel and TRP wars".

ICRA (2011) concluded that increasing content cost for GECs on account of high competition; advertisement revenues of GECs expected to grow during the next two-three quarters on back of new programming content. While the advent of digitization is likely to plug the leakage on subscription revenue and also improve pricing power through more refined/ focused market segmentation, the importance of content will be supreme – only good content would be able to command genuine pricing power. The proposed refinements on target rating points (TRP) collection data would also support this trend. The Hindi GEC genre remains highly competitive with four channels (Star Plus, Colors, Zee TV and Sony) competing for the top three slots. With heightened competition, content remains the key differentiating factor for these channels, resulting in higher investments in acquiring/ producing content. The content cost consists of two factors viz. number of original programming hours telecasted and the cost of producing per hour of new content. The cost of producing new content has been increasing on account of higher talent cost, production cost and higher technology investment requirements. Additionally, the GECs are also investing in more original programming to attract and retain viewers and keep up the TRPs; the content cost has also come under pressure with the increasing popularity of reality shows which generally cost much higher than the fiction shows. For example, the content and programming cost of ZEEL, increased y-o-y by 43 per cent during Q4, 2010-11, while that of Viacom18 increased by 27 per cent during the same period in spite of the reduced new programming content due to Cricket World Cup during the period.

Mehta, K. (2014) raised the most common question that today‘s media is facing is that Does the media – particularly the broadcast media need regulation, and if so, of what kind? The question was more prominent after the Mumbai terror attacks. In December 2008 News Broadcasters Association released a set of guidelines that television news channels should follow in emergency situations following severe criticism over the way TV covered the Mumbai terror attacks. At present we have approximately 30 news channels in our country and there is a war of Television Rating Points going on between them. TRP is linked with advertisements and revenues which is the only source of income for most of the news channels. Thus the war of TRP‘s is a war of profit and to earn more profits the news channels have started breaking all the standards of profession. This raised the question should electronic media, news media in particular, have a mandatory code of conduct? many cases like Uma Khurana case, actress Monika Bed casei, story of a car without driver and stories and programmes on ghosts and witches stick a big question mark on the content and sense of responsibilities of news channels.

Phadke, A. G. (Mar, 29, 2012) tries to find who will have the last laugh in the war for eyeballs — IPL matches or GECs? The battle lines are drawn. Over 54 days, 76 matches and eight weekends, India and cricket lovers will witness fast and furious matches, glam team owners in stadiums, heady after parties and stylish fashion shows as IPL's fifth edition gets underway. These, even as new serials are launched on the telly and your favourite soaps take interesting twists and turns. While channel heads feel they've figured out exactly how to hold on to viewers and remain undaunted by IPL's onslaught, the IPL is promising to entertain like never before, kick starting its tournament with a starstudded event. As the battle for TRPs is fought off the field, who will emerge winner? Loyalty and reruns, With quite a few new shows being launched (see box) close to the IPL date, programming heads of various channels are counting on the loyalty factor of audiences. Says Suresh Mishra, assistant director, "Individual channels and their programmes have their niche audience, who will find ways and means to watch their programmes, come what may. Also, serials have the power of reruns, which a cricket match does not have."

Rao, N. B. (2001) observe that the CNBC revelations on possible ―rating fudge‖ is significant since priorities of television in India are set by Television Rating Points (TRPs). ―Stunned‖, ―shocked‖ and ―damaging‖ are some of the reactions of TV channels. Certain hype on TRPs has been all across and as if they are sacrosanct. That is why the expose acquires the proportion of a ―scam‖. But it is a wonder that despite a ―TRP Trap‖ television in India has been under for some years, the intricacies were not brought out for public attention much earlier. Considering the consequences, the revelation should be viewed as a wake-up call in the industry. This is not the first time that allegations of ―manipulation of TRPs‖ has been made. This time, however, vulnerability of the system being followed has been substantiated such a way that larger public attention is ensured. TRPs were being taken for granted as ―universal yardstick‖ by media buyers, broadcasters, media, media users and by development planners at highest level in the country. Advertising agencies and advertisers have been doing their campaign planning and apportioning television spend amounting to some Rs.4000 crores primarily based on such weekly ―ratings‖. And, newspapers were busy hyping the ―rating claims‖ by channels and content producers.

And yet there is hardly any analysis in the media what these TRPs are all about as to at whose instance they are being compiled, with what kind of methodology and with what reliability, and as to their very relevance in the context of changing media scene and unique viewing situation in the homes. That these ratings are only projections and for only a select few cities and based on a small sample of ―representative‖ TV households was not convincingly explained. The pattern of selecting television channels, viewing programmes, timings, etc are measured with the help of a ―people meter‖ installed in those selected few TV households. The general impression often given is that these ratings are national and represent total ―TV owning households‖ in the country is not fully correct. At best one could dare to say that they are indicative of viewership in metro and major cities. Neither of the two rating services cover rural India. In fact, they cover only half of urban India. Starting with four metros about five years ago, the ratings today cover 29 cities with some states/ languages being covered by only one city.

Wadhwa, A. (2011) observed that the IPL bask in the reflected glory of the World Cup, or are viewers too jaded to watch any more cricket Even as TV channels struggle to predict the trend,they gear up to fight the TRP war. Indians won the Cup, but will IPL be able to drink from the fountain of joy the jury is divided on whether the craze for IPL among TV viewers will affect TRPs on channels this year. While some opine that with India bagging the World Cup, interest in the IPL will definitely go up, others feel an overdose of cricket is the best medicine to help TV serials revive their fortune in the IPL season beginning from today. There is lesser threat to TV serials during the IPL season this year, predicts Siddharth Tewary, producer of the serial Phulwa, and adds, The excitement for cricket will fizzle out during the first week of the IPL. The World Cup victory has taken up the level of excitement for cricket fans and for the IPL opening to beat that would be a little difficult. People now want a break from cricket and therefore our serials will benefit from this overdose of cricket. We will not have to go an extra mile to grab eyeballs with unwanted twists and turns in the script. In fact, so confident is Siddharth that he has decided to launch his new serial during the IPL. Had the World Cup not happened before the IPL, I wouldn‘t have gone for the launch of my new show Navya during this time. But now, I‘m quite confident that the serial will get a good response from the viewers during the first few weeks, he declares.

Showing a similar confidence is another producer, Rajan Shahi, who says, Usually, extra care is taken while scripting serials during the IPL, but this time the scene is completely different. At the same time, he does not deny that there will definitely be some changes in serial scripts to accommodate the cricket mania. He says, With the World Cup having just gotten over, only a 2030 per cent alteration in scripts will be done to combat the competition from the IPL, which used to be 100 per cent in the past. While Shahi does not expect the cricket mania to hit a very high note in this season of IPL, some channels are not quite as willing to take the risk. Indians win in the World Cup has forced channels to build high points in the scripts for the IPL, opines Saurabh Tewari, fiction head, Imagine. He says, Although our scripts did have certain twists to rival the IPL hype, we are now adding more thrill to the episodes, especially during the first week of the T20 tournament. The competition for TRPs is head on. Writer-turned-producer Rakesh Paswan agrees with Saurabhs IPL forecast and adds, At least I am putting an extra effort while scripting my serials during the IPL season. Ek naya josh hai Indians mein, for cricket. The level of excitement to watch cricket has risen manifold during the World Cup and the number is just going to go up during the IPL. We can‘t afford to take risk our TRPs during this time. But ultimately, Paswan concedes, the TRP trend is hard to predict this season.

Shekhar, P. (2014) said today that television channels often ask the writer to add sequences in serials that are proving popular with the masses. Shekhar told indiantelevision.com that he agreed that some serials had outlived their existence, but said he was asked to continue adding episodes because the respective channel felt the show was fetching TRPs. Writer of shows like ‗Balika Badhu‘, Shekhar has now penned the series ‗Satrangi Sasural‘ for Zee TV which is a story of a housewife who has to contend with seven mother-in-laws. Producer Bhairavi Raichura, who is also an actor said that while there is no pack up at the end of the day as it happens for an actor, but seeing a serial on screen is like seeing a new born baby. But she admitted she preferred playing the actor. Meanwhile speaking at the press meet, she denied that ‗Satrangi Sasural‘ was a woman-oriented show as it involved many elements as it exists in every family. Shekhar said the concept for the series had been given to him by the channel and he had then penned a story around it. He admitted that a writer had to keep the social issues in mind and taking care of elders was a major issue in this series directed by Nandita Mehra. He said he had learnt his basics in television from Zee since he had commenced his work as a writer for an earlier show with the channel. His shows include ‗Astitva – Ek Prem Kahani‘ and ‗Saat Phere‘. He stressed that the present series was not a typical saas-bahu story and said he would make every attempt to ensure that this does not happen in the coming episodes. Referring to the return of Farida Jalal on the small screen, he said she will be a surprise as she has always been taken as a character who brings some comedy on screen which will not happen this time. ‗Satrangi Sasural‘ will showcase the life of a girl living in a Delhi-based household with seven mother-in-laws, each of them having their own individual personality traits, quirks and diverse characteristics. The show has locked in an impressive ensemble star cast to play the seven mother-in-laws on the small screen along with the main leads.

The series will see a slew of prominent, popular yesteryear actors making a comeback. Viewers will see veteran actor Farida Jalal return to the small screen as the stern and stoic matriarch – the grandmother of the groom who calls the shots and runs the show. She gives shelter to six other women of the family who are either widows, left in a lurch by their husbands or just chose to walk away from troubled marriages. Prominent faces who have stepped in as the mother-in-laws include powerhouse performers like Bhavna Balsavar, Sadia Siddiqui, ReshamTipnis, Sheetal Thakkar, Sonali Sachdev and Samta Sagar. Shekhar said, ―You don‘t need to be a biological mother to know what it feels like to be a mother. In that sense, the male lead of our show Vihaan has been raised by not one, but seven mothers. So our leading lady Aarushi is posed with a most unusual scenario where she must deal with seven mothers-in-law – a prospect bound to make any girl turn jittery and develop cold feet about marriage.‖ The show explores the interesting dynamics between Aarushi and her seven mother-in-laws. Produced by 24 Frames, ‗Satrangi Sasural‘ has Ravish Desai as the male lead protagonist – Vihaan, opposite Mugdha Chaphekar who essays the role of Aarushi. TRA of India (2013) recommended the guidelines for Television is integral to modern living. Since its advent, television has been recognized as a source of entertainment, relaxation, education and information. Technological advances have enabled the availability of multiple channels, providing viewers with greater choice in terms of viewing options and the ease of switching between channels. The Indian Media Literacy (2013) a critical analysis of television experiences Television in India passes fifty years‘ service. We have a lot of studies available on its various impacts and status. The television began in India amazingly. It was an idiot box once. But the scene is changed. It is a most wanted pet in almost all parts of the nation. Both towns and villages keep the ‗box‘ as a special part of socio cultural life. As all historians point out, television began as a medium for instruction, now it is termed for information, entertainment, and infotainment and for commercials. The instructional purpose is minimized and other areas developed in a large way.

Impact of Television Commercials on the Social and Moral Behavior of Indian viewers although, there exists no consensus about the impact of television commercials on the social and moral behavior of viewers, the accusations that we come across in past research are grave. This study is an attempt to examine the same in India. An empirical analysis of the views of 520 respondents revealed that television commercials undermine social, moral and religious values and negatively influence human behavior. They violate ethical norms and disrespect the integrity of cultures, the consequences of which manifest themselves in the form of degradation of women, sexual preoccupation and boost to materialism. Indian journal Marketing (2014) found that Due to an increase in the number of products in the market, as well as owing to the changes in living conditions and lifestyles, there's been an array of products symbolizing and catering to those keen on living and exhibiting certain lifestyles. Amongst others, the increase in spare time, growth in disposable incomes, changes to work structure and greater incidence of stress, and also due to the manipulative adverts of companies as part of an increasingly sophisticated marketing mix, marketing value proposition today induces lifestyle consumption. Indian Television Market (2015) observed that Television market in India is one of the fastest growing segments of the consumer durable industry. The industry has witnessed a tremendous transformation, with the consumer preference changing from CRT televisions to flat panel televisions. In the advent of new technologies and frequent launches of innovative products, the market is growing at a significant pace. According to ―Indian Television Market Outlook to 2015‖ increasing income levels of Indian population, easy availability of financing and growing awareness on technologies mainly drive the Indian television market. Media and entertainment in India found that Television is the ‘King’ Television (TV) plays a major role in the flow of information and is equipped with the power to influence people, their beliefs and their opinions. Being a visual medium, its impact transcends the social and educational background of its viewers; more so, in a diverse country like India, where TV dominates the Media & Entertainment landscape as the preferred choice of entertainment. Measuring Viewership: Misleading TRP phenomenon (2012) says that the idea of measuring viewership was mooted by advertisers to facilitate advertising outlays. Neither the scope nor the methodology used to measure TRP indicates programme preferences or even actual watching of programmes. The methodology of viewership measurement should depend on the kind of contents and the genre. For example, the one designed to cater to advertising agencies cannot be expected to provide insights for programme viewership or programme preference. The methodology cannot be expected to be relevant to know the viewership of news channels, more specifically news bulletins. Yet, we have been using the same methodology to assess viewership of news channels. This is even more misleading. Indian Television Broadcasting Industry (2011) has recently developed a sample of television broadcasting companies selected by ICRA for the purpose of this study indicates a median y-o-y revenue growth of 13.2 per cent during 2010-11, contributed more by the general entertainment channels (GECs) than the news broadcasting companies which have registered a lower y-o-y revenue growth of 7.0 per cent during the year. The advertising revenue continue to be the key driver of broadcaster revenue (~80 per cent), as conventional analog cable distribution remains plagued by under declaration of subscriber base. Inability to grow the subscription pie adequately and competitive pressures continue to limit the ability of channels to invest on content. Trends and Potential of the Indian entertainment industry (2011) has worked the entertainment sector in India is poised for a compounded annual growth rate of 20% according to a recent KPMG report. The key factors that are driving the growth of the media and entertainment industry in India are the favorable demographics, growing literacy, increasing affluence, development of technology, government support and the growing interest in the Indian way of life. Reputation Management of India says that Brand building is part of most corporations‘ DNA. However, in the past few years, communication experts have understood that sustaining the desired brand image is a greater challenge. It is here that corporate reputation and its management comes into play. Your corporate reputation is based on stakeholders‘ perception of you – both in terms of your past and your potential. It is an intangible asset, but it has tangible implications on your balance sheet. Kruti Mehta observed that the most common question that today‘s media is facing is that Does the media – particularly the broadcast media need regulation, and if so, of what kind? The question was more prominent after the Mumbai terror a_acks. In December 2008 News Broadcasters Association released a set of guidelines that television news channels should follow in emergency situations following severe criticism over the way TV covered the Mumbai terror a_acks.

Reality or Myth: of Women in Indian TV Serials represents Representations are formations, or as Roland Barthes has said of all operations of language,‖they are deformations‖. Similarly,back from the days of media reports on Oriental women being despotic and sensuous, media has successfully presented and caricatured woman-ness.In this paper of mine I will primarily focus on the television soaps and serials of India and attempt to analyse how exactly do they present women. Trends in Celebrity Brand Endorsements on Indian Television (2013) observed that there has been a tremendous growth in the impact of Television (TV) as a source of revenue for advertisers around the world. As shown by various recent reports, TV has emerged as one of the most effective media for popularizing brands owing to its wide reach. Purchasing power of people in most countries including India is moving in an upward direction and this trend is expected to continue in the next few years. Indian Television Under a TRP Trap (2001) CNBC revelations on possible ―rating fudge‖ is significant since priorities of television in India are set by Television Rating Points (TRPs). ―Stunned‖, ―shocked‖ and ―damaging‖ are some of the reactions of TV channels. Certain hype on TRPs has been all across and as if they are sacrosanct. That is why the expose acquires the proportion of a ―scam‖. But it is a wonder that despite a ―TRP Trap‖ television in India has been under for some years, the intricacies were not brought out for public attention much earlier. observed that Television viewing is considered to be the prime pastime activity in most Indian households. It is also the time when the family gets together, experiencing a bonding like never before especially when they get to discuss the various twists and turns of the Hindi soap unfolding on the 'idiot box'. The copious tears shed by the abject heroine moves us all and we secretly cheer the valiant deeds of hero who puts on a brave front and sides with the downtrodden eschewing all the wealth and opulence of his hugely wealthy family on the way.