DOCSLIB.ORG

A an Analyti Cal Study of Tools a and Techn Niques for Movie Ma Arketing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A an Analyti Cal Study of Tools a and Techn Niques for Movie Ma Arketing Thhe Asian Journal of Technology Management Vol. 7 No. 1 (2014): 31-44 An Analytical Study of Tools and Techniques for Movie Marketing Garima Malik1* and Ch. Abhinav Guptha2 1Amity Business School, Amity University, Noida 2 National Payment Corporation of India, Mumbai Abstract. Bollywood or Hindi movie industry is one of the fastest growing sector in the media and entertainment space creating numerous business and employment opportunities. Movies in India are a major source of entertainment for all sects of society. They not only face competition from other movie industries and movies but from othther source of entertainment such as adventure sports, amusement parks, theatre and drama, pubs and discothèques. A lot of man power, man hours, creative brains, and money are put in to build a quality feature film. Bollywood is the industry which continuously works towards providing the 7 billion population with something new always. So it is important for the movie and production team to stand out, to grab the due attention of the maximum audience. Movie makers employ various tools and techniques today to market their movies. They leave no stone unturned. They roll out teasers, First look, Theatrical trailer release, Music launch, City tours, Prooducer’s and director’s interview, Movie premier, Movie release, post release follow up and etc. to pull the viewers to the Cineplex. The audience today which comprises mainly of youth requires photos, videos, meet ups, gossip, debate, collaboration and content creation. These requirements of today’s generation are most fulfilled through digital platforms. However, the traditional media like newspapers, radio, and television are not old school. They reach out to mass audience and play an upper role in effective marketing. This study aims at analysing these tools for their effectiveness. The objectives are fulfilled through a consumer survey. This study will bring out the effectiveness and relational importance of various tools which arer employed by movie marketers to generate maximum returns on the investments by using various data reduction techniques like factor analysis and statistical techniques like chi-square test with data visualization using pie charts. Keywordor s: Movie promotion, movie marketing, digital marketing, marketing tools, Bollywood, marketing techniques 1. Introduction and movie technicians to successful collect their returns, but adoptioon of various Hindi cinema industry is popularly known marketing techniques have reduced the as Bollywood and it is based in Mumbai, Hindi movie’s dependency on the these India. Bollywood is considered to be one of elements. Like any other product or servivice the oldest movie industry in the media and movie too need adequate marketing and entertainment space of India and worldwide distribution to encourage people to watch too. Bollywood in India has undergone movie and in return producers can make many changes and rapidly evolving even money. Bollywood, as the Hindi film today. Two decades ago Hindi movie industry is popularly known is one of the industry was dependent on quality stories fastest growing businesses in the world. *Corresponding author. Email: [email protected] DOI: http://dx.doi.org/10.12695/ajtm.2014.7.1.4 Print ISSN: 1978-6956; Online ISSN: 2089-791X. Copyright@2014. Published by Unit Research and Knowledge School of Business and Management-Institut Teknologi Bandung. 31 The Asian Journal of Technology Management Vol . 7 No.1 (2014): 31- 44 According to KPMG Media and digitalization has enabled them add Entertainment report 2012, the Indian film inventory to the media space for promoting industry is expected to grow at a CAGR various other products. (Compound Annual Growth Rate) of 10.1 per cent and touch INR 150 billion in 2016. 1.3. Inception of portfolio concept Corporatization of the movie industry has Production houses and teams in Bollywood led to many interesting turn of events which movies are carefully planning their would make quick profitable returns. prospective movies, where there exists a Following are some of the changes which healthy mix of high, moderate and low have taken place in the Bollywood. budget movies which can absorb the loses if occurred and produce returns through good 1.1. Emergence of the new sources of income response. Through innovative marketing Concept of economies of scope is relevant techniques production houses are able to in this context, as a Bollywood movie produce low budget movies which can production team is utilizing every source return multiple times its investment. Lunch where they can make money, such as selling Box starring Irfaan Khan is one such rights for digital space, merchandising, example where the movie has collected public appearances and product placements considerable amount of money when in the movie. This multi-sourced income compared to its low budget production. have reduces the chances of failure, hence making the producer to venture into similar 2. Marketing a Bollywood Movie such projects in the future. In addition to the above changes the 1.2. Advent to digital distribution innovative and logically sound concepts Today in the electronic and digital era, the which emerged in marketing Bollywood concept of movie reel is completely movies, which work in tandem with today’s obsolete and electronic relay of the signals short life cycle of the movie. Diagram below to the multiplex have reduced the cost of showcases the theoretical framework of distribution drastically and improved the research which is done during the pre- quality of delivery. This phenomenon have production stages of the movie to enabled the production teams to distribute understand the characteristics of the target the movie to maximum theaters around the audience and launch the movie to collect world without a distortion in terms of the desirable returns. movie quality. This change has even made movie producers to save on cost and Analysis of secondary data Analysis of data collected Analysis of customer on marketing techniques from professionals in the perceptions, choices and for movies in Bollywood industry their purchase decisions Will help identify what are the major tools used for promotion, the effectiveness of these tools, to what extent do they influence the customers and their importance in movie marketing Figure 1. Theoretical framework 32 Malik and Gupta, An Analytical Study of Tools and Techniques for Movie Marketing Today the major tools used for the 2. Low on content and aggressive promotion are consisting all the elements of promotions 360 degree marketing with ATL, BTL and 3. High on content and low promotions new TTL marketing where digital space is 4. Low on content and low promotions involved. Many Bollywood movies today conduct a research and chose their Based on the above factors of content and marketing tools to probe their prospective promotions it can be decided whether if a viewer’s mind to attract to towards the movie is an all-time blockbuster, Sleeper or upcoming movie. Analysis and relational a flop show! (Sinha, 2013). Marketing also importance of many marketing tools like becomes essential because of the grey game apps, star cast promo tour and many markets created by anti-social element eats other different tools have been examined in into producer’s share of profits (Rao, this study to provide an insight about their Kannan, 2008). Movies flop due to many effectiveness across various demographic reasons such as flop story line even if the profiles. star cast is amazing but the fact that they are not even able to cover up the production 3. Literature Review cost is due to inadequate promotion. Some of the movies which failed to make an Bollywood – The Indian Film industry is the impact, despite of a good star cast are The major source of entertainment for its Hero, Kaante, Tango Charlie (Rao, Kannan, customers and ever green business for well 2008). – everyone in it! In its 100 years, Bollywood has come a long way, from black and white Bollywood being a classic example of cinema to colored HD, from single screen effective marketing has a great potential in launch to more than 500 screens, from the all segments. Talking about segmentation, movie selling based on fan following to high efforts are being made on different aggressive promotion and marketing. regional and national marketing strategies. There bilingual and multilingual movies and All concepts of marketing are being applied then there are slickly dubbed movies. Mani religiously today in in Bollywood, STP and Ratnam’s Ravaan was released in Hindi and 4P’s of marketing (Sinha, 2013). Technology Tamil. Rajnikanth’s Endhiran was dubbed in has changed a lot, all the marketing Hindi and named Robot (Sinha, 2013). concepts used widely are done at three Chennai Express went overboard with its stages. Prerelease, Release and Post release international campaign and released the of the movie (Rao, Kannan, 2008). There is movie in 10 different languages – English, a significant relationship between the French, Spanish, Arabic, German, Hebrew, marketing spends and the box office results Dutch, Turkish and Malay apart from Hindi (Fetscherin, 2010). There are many movies (PitchCinema, 2013). which have garnered huge profits based on the prerelease marketing, there are some Targeting and position can be seen in Once movies which dragged at the box office due upon a time in Mumbai, It has 70s fashion its post release promotions. makeover kiosks urging people to enter the Movies can also be classified into four retro zone. Similar theme was seen in Shah categories based on its content and the Rukh Khan’s Om Shanti Om. Ghajini styled efforts spend on marketing. haircut parlors were seen as mom and pop 1. High on content and aggressive stores in auditoriums screening the movie. promotions He even roamed across the country for 2 33 The Asian Journal of Technology Management Vol . 7 No.1 (2014): 31- 44 weeks in disguise challenging people if they people in the virtual world.
Load more

Recommended publications
  • Indian Movies, Brand Australia and the Marketing of Australian Cosmopolitanism
    University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2013 Indian movies, brand Australia and the marketing of Australian cosmopolitanism Andrew Hassam University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Hassam, Andrew, "Indian movies, brand Australia and the marketing of Australian cosmopolitanism" (2013). Faculty of Law, Humanities and the Arts - Papers. 919. https://ro.uow.edu.au/lhapapers/919 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Indian movies, brand Australia and the marketing of Australian cosmopolitanism Abstract Indian movies shot overseas have attracted the attention of not only advertising agencies keen to see their clients' brands appearing on-screen, but also government tourism commissions eyeing India's growing middle classes as potential visitors. Australian federal and state governments offer Indian film producers financial incentives to film in Australia, and Australian cities now regularly supply Indian movies with backdrops of upmarket shopping malls, stylish apartments and exclusive restaurants. Yet in helping to project the lifestyle fantasies of India's new middle classes, Australian government agencies are supporting an Indian view of Australia. While this image may attract Indian tourists to Australia, it presumes Australia is culturally White and British, and as a result Australian agencies market an Australian cosmopolitanism defined not in terms of cultural diversity but in terms of the availability of global brands.
    [Show full text]
  • Chapter I Introduction
    CHAPTER I INTRODUCTION A. Background of the Study Life is struggle, sacrifice, and worthy. On the other side, the people say that life means study or effort. People must struggle their right and obligation too. The struggling, sacrificing, and affording are one of requisites for acquiring their appreciations, dreams, and aims. The appreciation is the last destination that is brought into reality by the people. So everyone needs appreciation in their life. The appreciation is like a dream, goal or destination. It is a soul in proving something done by people. Appreciation can give the spirit and energy for someone in reaching their aim in their life. Many people that have acquired appreciation, they would be proud and satisfy both for themselves and another people in surrounding. However, sometimes the people have wrong ways to prove their appreciations. Appreciation need includes self actualization of human needs. Self actualization is one fundamental need in humanistic psychological theory. This need is part of hierarchy need in humanistic psychological theory. Humanistic psychology views humans as active creature with freedom. Abraham Maslow had explained the humanistic analysis in the psychological theory. The theory of Maslow is the hierarchy of needs that are the 1 2 psychological needs, safety needs, love and belonging needs and esteem needs. The four points above is the deficient needs or the basic needs. Maslow next had explained the growth needs as a motivation of human. The growth needs include self actualization (Clearer perception of reality, Acceptance of self, Other and nature, Spontaneity, Problem-centering, Detachment and the need for solitude, Autonomy, Independent of culture and environment, Continued fresher of appreciation, The mystic experience, the oceanic feeling, Oneness with humanity, Deep interpersonal relations, Democratic character structure, Ethical means towards moral ands, Philosophical, Creativeness).
    [Show full text]
  • Research Paper Impact Factor
    Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s.
    [Show full text]
  • Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
    Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies.
    [Show full text]
  • Androcentrism in Indian Sports
    Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Androcentrism in Indian sports Bijit Das [email protected] Ph.D. Research Scholar, Department of Sociology Dibrugarh University Dibrugarh, Assam, India 786004 Abstract The personality of every individual concerning caste, creed, religion, gender in India depends on the structures of society. The society acts as a ladder in diffusing stereotypes from generation to generation which becomes a fundamental constructed ideal type for generalizing ideas on what is masculine or feminine. The gynocentric and androcentric division of labor in terms of work gives more potential for females in household works but not as the position of males. This paper is more concentrated on the biases of women in terms of sports and games which are male- dominated throughout the globe. The researcher looks at the growing stereotypes upon Indian sports as portrayed in various Indian cinemas. Content analysis is carried out on the movies Dangal and Chak de India to portray the prejudices shown by the Indian media. A total of five non-fictional sports movies are made in India in the name of Bhaag Milkha Bhaag (2013), Paan Singh Tomar(2012), MS Dhoni: An untold story(2016), Azhar(2016), Sachin: A billion dreams(26 May 2017) are on male sportsperson whereas only two movies are on women, namely Mary Kom (2014), Dangal(2017). This indicates that male preference is more than female in Indian media concerning any sports. The acquaintance of males in every sphere of life is being carried out from ancient to modern societies. This paper will widen the perspectives of not viewing society per media but to the independence and equity of both the sex in every sphere of life.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • Sigaram Thodu’
    UTV announces its next Tamil film ‘SIGARAM THODU’ Chennai, 2nd January 2013: UTV Motion Pictures today announced its next home production in Tamil ‘Sigaram Thodu’ which will be written and directed by Gaurav of ‘Thoonga Nagaram’ fame and will star Vikram Prabhu in the lead. After ‘Settai’ (remake of Hindi super hit film Delhi Belly) starring Arya, Santhanam, Premgi, Hansika, Anjali and Nasser and directed by R. Kannan this will be UTV’s next Tamil release this year. The pre-production work for ‘Sigaram Thodu’ has commenced from today and the film’s shooting is expected to begin from April 2013. The other cast and crew is under finalization and will be announced shortly. “As a Studio it has been our constant endeavour to bring across the right mix of content for our consumers like we have done with our Hindi slate. South is a key market for us and we will be announcing an equally eclectic slate this side as well,” said G. Dhananjayan, Chief – South Business, Studios, DisneyUTV In 2013, ‘Settai’ will be UTV’s first release in Tamil which will release in February and ‘Sigaram Thodu’ will hit theatres in December. STUDIOS – DisneyUTV Bringing together the best of both worlds, The Walt Disney Studios and UTV Motion Pictures have formed one of the leading film studios in India. The Studio’s activities span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films in India and worldwide. UTV Motion Pictures as a dominant player in the Indian film industry has been in the forefront of bringing Indian films to a global audience and the last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Fashion, Kaminey, No One Killed Jessica, Raajneeti, Udaan, Peepli Live, Delhi Belly and more recently Ek Main Aur Ekk Tu, Paan Singh Tomar, Rowdy Rathore, Barfi! and Heroine.
    [Show full text]
  • Recruiter's Handbook 2020
    Recruiter’s Handbook 2020 VISION To create a state-of-the-art institution that sets new standards of world-class education in film, communication and creative arts. MISSION Benchmarking quality, inspiring innovation, encouraging creativity & moulding minds, by leading from the front in the field of film, media and entertainment education. ONE OF THE TEN BEST FILM SCHOOLS IN THE WORLD - THE HOLLYWOOD REPORTER Degree & Diploma 5.5 ACRE programmes CAMPUS acceredited by the TISS 1300+ 2200+ STUDENTS Media & Film industry Alumni campus SCHOOL OF EVENT MANAGEMENT Subhash Ghai Founder & Chairman, Whistling Woods International Chairman, Mukta Arts Limited Member, Executive Committee, Film & Television Producers Guild of India Member, United Producers Forum Education Evangelist Karamveer Chakra Awardee Chairman, MESC Subhash Ghai is a globally renowned filmmaker having directed 19 films over a four-decade career, with 14 of them being blockbusters. Recipient of many national and international awards, he has also been honoured by the United States Senate. He has been a former Chairman of the Entertainment Committee of Trade body CII and also a member of FICCI, NASSCOM and TIE Global & its alliances. He has been invited to address various forums and seminars on corporate governance and the growth of Media & Entertainment industry globally and in India. He is presently serving as the Chairman of Media and Entertainment Skills Council (MESC). Message from the Founder & Chairman My journey as a filmmaker in the Media & Entertainment (M&E) industry has been a long and cherished one. Over the years, the one factor that has grounded me and contributed to my success is the basic film education I received from the film institute I studied in, coupled with my strong desire to learn and re-learn from my days as part of the Indian film industry.
    [Show full text]
  • Aspirational Movie List
    SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S.
    [Show full text]
  • Retelling the Nation: Narrating the Nation Through Biopics, Preeti
    The Asian Conference on Film and Documentary 2013 Official Conference Proceedings Osaka, Japan Retelling the Nation: Narrating the Nation through Biopics, Preeti Kumar St. Teresa's College, Ernakulam, India 0209 The Asian Conference on Film and Documentary 2013 Official Conference Proceedings 2013 Abstract Cinema plays a pivotal role in the negotiation and construction of national identity, selectively appropriating history, attempting to forge a sense of commonality in a set of people by evoking a sense of a shared past and by establishing a rupture with ‘others'. One of the means of constructing a nation is through the biopic. Great men biopics chronicle heroic deeds, sacrifice, and lofty moral virtues and either fabricate, or rediscover, and authenticate the myths of the founding fathers and celebrated men. Biopics disseminate the "myth of nationhood" by use of various narrative strategies - such as a glorification of hypermasculinity, structuring binary oppositions in terms of character and thematic concerns, ‘otherness', visualizing national territory, homogenizing a cultural diversity etc. These films become a part of the nationalistic discourse that reflect perceptions of what it means to be "Indian". Bollywood in general and the biopic in particular has moved away from the Mother India mythology and its feminine reading of the nation to produce a particular variant of nationalism. This paper attempts to deconstruct how the nation is simulated, and meanings, such as national pride and national idealism, are mediated to the audience in selected Indian biopics - Sardar, The Legend of Bhagat Singh, Mangal Pandey - The Rising and Bhaag Milkha Bhaag. Key terms: Cinema, biopic, Bollywood, identity, memory, otherness, gendering, simulation/construction.
    [Show full text]
  • A Study on Screen Adaptations from Literature with Reference to Chetan
    Journal of Advanced Research in Journalism & Mass Communication Volume 5, Issue 1&2 - 2018, Pg. No. 1-6 Peer Reviewed Journal Research Article A Study on Screen Adaptations from Literature with Reference to Chetan Bhagat’s Novel Manmeet Kaur1, Divya Rastogi Kapoor2 1,2Assistant Professors, Delhi Metropolitan Education, Sector-62, Noida. DOI: https://doi.org/10.24321/2395.3810.201801 Abstract In order to cater a huge audience, film makers from all over the world have adopted literature writings for movie making. The key purpose of these screen adaptations lies in giving visual appeal to the black and white words of the author’s writings. Furthermore, there are restricted readers for different genres and subject of novel and literature respectively. But film making satisfies the hunger of a large heterogeneous audience with the element of ‘entertainment’. The idea of screen adaptations dates back years ago when people had limited options for entertainment and recreational activities. The study is based on movies made in Bollywood which have been inspired by the writings of novelists. This is a qualitative research in which Chetan Bhagat’s novel ‘Five Point Someone’ and ‘2 States’have been take up by Bollywood film makers to make movies ‘3 Idiots’ and ‘2 States’ respectively. The research methodology will be content analysis that how writer’s experience with words can make movie audience fall for it through the adaptations. Keywords: Audience, Content analysis, Novels, Screen adaptations, Bollywood film maker, 2 States, five point someone Introduction cult, classic, animated and soon2(i). In the year 2013, we have celebrated 100 years of Indian cinema which was Film spectators/audiences are important in making a started with the vision and passion of Dadasaheb Phalke, movie a grand success.
    [Show full text]
  • Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha E Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G
    Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha_E_Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G. Runnin' (Trying To Live) 2Pac Feat. Dr. Dre California Love 3 Doors Down Kryptonite 3Oh!3 Feat. Katy Perry Starstrukk 3T Anything 4 Non Blondes What's Up 5 Seconds of Summer Youngblood 5 Seconds of Summer She's Kinda Hot 5 Seconds of Summer She Looks So Perfect 5 Seconds of Summer Hey Everybody 5 Seconds of Summer Good Girls 5 Seconds of Summer Girls Talk Boys 5 Seconds of Summer Don't Stop 5 Seconds of Summer Amnesia 5 Seconds of Summer (Feat. Julia Michaels) Lie to Me 5ive When The Lights Go Out 5ive We Will Rock You 5ive Let's Dance 5ive Keep On Movin' 5ive If Ya Getting Down 5ive Got The Feelin' 5ive Everybody Get Up 6LACK Feat. J Cole Pretty Little Fears 7Б Молодые ветра 10cc The Things We Do For Love 10cc Rubber Bullets 10cc I'm Not In Love 10cc I'm Mandy Fly Me 10cc Dreadlock Holiday 10cc Donna 30 Seconds To Mars The Kill 30 Seconds To Mars Rescue Me 30 Seconds To Mars Kings And Queens 30 Seconds To Mars From Yesterday 50 Cent Just A Lil Bit 50 Cent In Da Club 50 Cent Candy Shop 50 Cent Feat. Eminem & Adam Levine My Life 50 Cent Feat. Snoop Dogg and Young Jeezy Major Distribution 101 Dalmatians (Disney) Cruella De Vil 883 Nord Sud Ovest Est 911 A Little Bit More 1910 Fruitgum Company Simon Says 1927 If I Could "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Ebay "Weird Al" Yankovic Canadian Idiot A Bugs Life The Time Of Your Life A Chorus Line (Musical) What I Did For Love A Chorus Line (Musical) One A Chorus Line (Musical) Nothing A Goofy Movie After Today A Great Big World Feat.
    [Show full text]