About Balaji Telefilms
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Balaji Telefilms Limited
Balaji Telefilms Limited Company Overview BSE Code 532382 Balaji Telefilms Limited is in Media & BSE Symbol BALAJITELE Entertainment sector and it is in film production, distribution & entertainment industry. BTL was Key Highlights incorporated in 1994 as a private limited Latest Date 17 Sept 2018 company and became listed in the year 2000. Latest Price (Rs.) 106.5 BTL produces Television serial content, Movies 52 Week High (Rs.) 181 and digital content. 52 week low (Rs.) 102 BTL has produced 18000 hours of Television Face Value (Rs.) 2 content since its inception. BTL has produced Market Cap. (Rs. in Cr.) 1112 some of the best television serials in the country Net Worth (Rs. in Cr.) 853 including the famous K series of daily soap: TTM EPS (Rs.) -4.61 ‘Kyunki Saas Bhi Kabhi Bahu Thi', ‘Kahani PE Ratio (x) 0 Ghar Ghar Ki' and more recently created ‘Naagin-1', ‘Naagin-2' a weekend fiction based PB Ratio (x) 1.34 programming. EV/ EBITDA (x) -31.01 Market Cap./ Sales (x) 3.19 Segment Summary Shareholding Pattern The company operates in 3 segments. Promoters 33% FII 18% 1. TV Serial Production DII 35% The backbone of the company is their TV serial Non-Institutional 14% production business. BTL is in this business from the incorporation of the company in 1994. The returns from the TV Business are steady because the company operates on a cost-plus model, whereby company adds profit to the whole cost of production and bill that to the broadcaster. 2. Movie Production The company started movie production in 2001. -
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University of Education, Winneba an Ethnographic
University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA AN ETHNOGRAPHIC STUDY OF AUDIENCE VIEWING OF THE TELENOVELA-KUMKUM BHAGYA AT SOME SELECTED SITES ELIZABETH OWUSU ASIAMAH JULY, 2017 1 University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA AN ETHNOGRAPHIC STUDY OF AUDIENCE VIEWING OF THE TELENOVELA-KUMKUM BHAGYA AT SOME SELECTED SITES ELIZABETH OWUSU ASIAMAH A DISSERTATION IN THE DEPARTMENT OF COMMUNICATION AND MEDIA STUDIES, FACULTY OF FOREIGN LANGUAGES EDUCATION AND COMMUNICATION, SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR AWARD OF THE MASTER OF PHILOSOPHY IN COMMUNICATION AND MEDIA STUDIES (MEDIA STUDIES) DEGREE. JULY, 2017 2 University of Education,Winneba http://ir.uew.edu.gh DECLARATION STUDENT’S DECLARATION I, Elizabeth Owusu Asiamah, declare that this Dissertation, with the exception of quotation and references contained in published works which have all been identified and duly acknowledged, is entirely my own original work, and it has not been submitted, either in part or whole, for another degree elsewhere. SIGNATURE: …………………………………………… DATE: …………………………………………………… SUPERVISOR’S DECLARATION I hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Dissertation as laid down by the University of Education, Winneba. NAME OF SUPERVISOR: DR. ANDY OFORI-BIRIKORANG SIGNATURE: ………………………………………………………. DATE: ……………………………………………………… ii University of Education,Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS I am very grateful to the Almighty God who has been my strength and guide right from the beginning to the completion of this work. The enormous task of writing this essay would not have been accomplished if not for the able guidance of my supervisor and mentor, Dr. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
About Balaji Telefilms
Private and Confidential Unique, Distinctive, Disruptive Investor Presentation Unique, Distinctive, Disruptive Disclaimer Certain words and statements in this communication concerning Balaji Telefilms Limited (“the Company”) and its prospects, and other statements relating to the Company‟s expected financial position, business strategy, the future development of the Company‟s operations and the general economy in India & global markets, are forward looking statements. Such statements involve known and unknown risks, uncertainties and other factors, which may cause actual results, performance or achievements of the Company, or industry results, to differ materially from those expressed or implied by such forward-looking statements. Such forward-looking statements are based on numerous assumptions regarding the Company‟s present and future business strategies and the environment in which the Company will operate in the future. The important factors that could cause actual results, performance or achievements to differ materially from such forward-looking statements include, among others, changes in government policies or regulations of India and, in particular, changes relating to the administration of the Company‟s industry, and changes in general economic, business and credit conditions in India. The information contained in this presentation is only current as of its date and has not been independently verified. No express or implied representation or warranty is made as to, and no reliance should be placed on, the accuracy, fairness or completeness of the information presented or contained in this presentation. None of the Company or any of its affiliates, advisers or representatives accepts any liability whatsoever for any loss howsoever arising from any information presented or contained in this presentation. -
Automatically Generated PDF from Existing Images
Investor Presentation Q3 & 9M FY2015 Disclaimer Certain statements in this document may be forward-looking statements. Such forward- looking statements are subject to certain risks and uncertainties like government actions, local political or economic developments, technological risks, and many other factors that could cause its actual results to differ materially from those contemplated by the relevant forward-looking statements. Balaji Telefilms Limited (BTL) will not be in any way responsible for any action taken based on such statements and undertakes no obligation to publicly update these forward-looking statements to reflect subsequent events or circumstances. The content mentioned in the report are not to be used or re- produced anywhere without prior permission of BTL. 2 Table of Contents Financials 4 - 19 About Balaji Telefilms 20 - 21 Television 22 - 24 Motion Picture 25 - 29 3 Performance Overview – Q3 & 9M FY15 Financial & Operating Highlights Q3 & 9M FY15 (Standalone) Results for Q3 FY15 • Revenues stood at ` 57,27 lacs {` 37,80 lacs in Q3 FY14} • EBITDA is at ` 4,25 lacs {` 2,01 lacs in Q3 FY14} • Depreciation higher by ` 45,44 lacs due to revised schedule II • PAT is at ` 3,09 lacs {` 1,66 lacs in Q3 FY14} Contd…. 5 Financial & Operating Highlights Q3 & 9M FY15 (Standalone) Results for 9M FY15 • Revenues stood at ` 146,25 lacs {` 89,59 lacs in 9M FY14} • The Company has investments in Optically Convertible Debentures (OCD’s) in two Private Limited Companies aggregating ` 4,65.81 lacs. These investments are strategic and non-current (long-term) in nature. However, considering the current financial position of the respective investee companies, the Company, out of abundant caution, has, during the quarter provided for these investments considering the diminution in their respective values. -
INDIAN OTT LANDSCAPE a Survey Report by Vidooly
INDIAN OTT LANDSCAPE A Survey Report by Vidooly Video Intelligence & Cross Platform Analytics Software INTRODUCTION The increasing popularity of OTT Platforms in India is no more a secret. While Hotstar, Netflix and Amazon Prime have become established names in the industry, we also have new entrants such as AppleTV+ and Flipkart Videos marking their debut. With 30+ platforms competing to build a subscriber base, they are experimenting with newer way to please their audience. With the help of big data, platforms are devising ways of personalizing their user experience. Innovations such as voice tags, augmented and virtual reality, 360 degree viewing and blockchain technology are also getting intensely explored. The pace at which the industry is transforming, makes it indispensable for the platforms to evolve continuously. Other than recognizing consumer’s changing preferences and their need of personalized experiences, brands also realize their price-sensitive nature. This has led to the provision of multiple screens and introduction of cheaper subscription plans by these platforms in order to fit consumers’ pockets. Undisrupted 4G connectivity has played a major role in enabling the online content consumption, that too, at viewers’ ease. Not only has it made internet accessible but also affordable, thus driving the user-spends towards other means of entertainment - in this case – Video-on-Demand Platforms. The penetration of internet in rural areas has also soared, resulting in a higher demand of regional content on these platforms. There’s no second guessing in the fact that the OTT industry is going to be the face of Media & Entertainment Industry in the coming years. -
“Censorship in OTT Platforms: the Necessity”; *Bhagavatula Naga Sai Sriram, School of Law, SASTRA University
Volume 11, July 2020 ISSN 2581-5504 “Censorship in OTT Platforms: The Necessity” *Bhagavatula Naga Sai Sriram School of Law, SASTRA University **Sandhiya K. School of Law, SASTRA University Internet and technology have become an inevitable part of our lives and therefore omnipresent. In this fast paced world, each one of us sits in front of an electronic gadget to pass time. The evolution of media and visual entertainment has witnessed a drastic change in the current decade due to the era of digitalization. The whole concept of visual entertainment started with few television channels and now it is easily available and accessible through the mobile phone, personal computers and Smart TVs. This research paper is centred on Over The Top (OTT) platforms which enables visual entertainment through the usage of internet. The current trend stands out to be the use of OTT platforms for which the number of users increases exponentially in our country. With regards to laws related to media and censorship, we are yet to upgrade ourselves to fit in the computerized world. This paper is an attempt to explore the grey area of OTT platforms and its evolution along with possible outcomes and suggestions that can be brought in the aspect of censorship and media laws. Keywords: OTT (Over The Top) and Types, Censorship, Online Content regulation provisions in India. What are OTTs: OTT represents Over-the-top which is a term used to depict visual content (films, videos and original web series) suppliers through web. These services are known as over-the-top since it goes over a traditional cable box to provide a user access to content which otherwise is transmitted through customary medium. -
The State of Mobile 2019 Executive Summary
1 Table of Contents 07 Macro Trends 19 Gaming 25 Retail 31 Restaurant & Food Delivery 36 Banking & Finance 41 Video Streaming 46 Social Networking & Messaging 50 Travel 54 Other Industries Embracing Mobile Disruption 57 Mobile Marketing 61 2019 Predictions 67 Ranking Tables — Top Companies & Apps 155 Ranking Tables — Top Countries & Categories 158 Further Reading on the Mobile Market 2 COPYRIGHT 2019 The State of Mobile 2019 Executive Summary 194B $101B 3 Hrs 360% 30% Worldwide Worldwide App Store Per day spent in Higher average IPO Higher engagement Downloads in 2018 Consumer Spend in mobile by the valuation (USD) for in non-gaming apps 2018 average user in companies with for Gen Z vs. older 2018 mobile as a core demographics in focus in 2018 2018 3 COPYRIGHT 2019 The Most Complete Offering to Confidently Grow Businesses Through Mobile D I S C O V E R S T R A T E G I Z E A C Q U I R E E N G A G E M O N E T I Z E Understand the Develop a mobile Increase app visibility Better understand Accelerate revenue opportunity, competition strategy to drive market, and optimize user targeted users and drive through mobile and discover key drivers corp dev or global acquisition deeper engagement of success objectives 4 COPYRIGHT 2019 Our 1000+ Enterprise Customers Span Industries & the Globe 5 COPYRIGHT 2019 Grow Your Business With Us We deliver the most trusted mobile data and insights for your business to succeed in the global mobile economy. App Annie Intelligence App Annie Connect Provides accurate mobile market data and insights Gives you a full view of your app performance. -
A Study on Increase in the Usage of OTT Streaming Services
International Journal of Research in Engineering, Science and Management 142 Volume 4, Issue 8, August 2021 https://www.ijresm.com | ISSN (Online): 2581-5792 A Study on Increase in the Usage of OTT Streaming Services Shaurya Parnami1*, Tushar Jain2 1,2Student, Symbiosis Centre for Management Studies, Symbiosis International (Deemed) University, Pune, India Abstract: OTT Platforms have been becoming more and more as Scam 1992: The Harshad Mehta Story and Mirzapur S2 have popular in India due to locally-oriented content, low costs, and the proven that Indian audiences are ready for largely content- widespread use of 4G (and 5G in the future), and are predicted to oriented television shows rather than the traditional Indian grow even more. Streaming Services such as Netflix, Amazon Prime Video, and Hotstar dominate the market, with others such serials. as AltBalaji and Voot also becoming more popular. During the Our study aims to ascertain the factors behind this increase COVID-19 pandemic, the number of active subscribers to these by surveying a sample population. OTT streaming platforms has increased by almost 6 million users in a single year. This study surveys a sample population of 200 2. Literature Review respondents and aims to ascertain whether their usage of OTT platforms has increased or not, by how much time, and the Manisha Pandit (2020) explores in her study that OTT perceived reasons behind this increase. The study found that the Platforms have seen a significant annual growth of more than subscribers of these OTT platforms had increased their usage by 22% due to not only ease of availability but also pocket friendly almost 3 hours on a daily average due to the pandemic, citing subscription plans and increase in local regional content, which various reasons such as ‘Boredom’, ‘Excess time’, ‘New content’ was not the case just a few years ago (Dr. -
Tla Hearing Board
TLA HEARING BOARD Hearing Schedule from 02/03/2020 to 02/03/2020 Location: AHMEDABAD S.No TM No Class Hearing Hearing Proprietor Name Agent Name Mode of Date Schedule Hearing 1 4201678 20 02-03- Morning (10.30 PREMIA WOODTECH PRIVATE GAUTAM & Physical 2020 am to 1.30 pm) LIMITED COMPANY 2 4205381 14 02-03- Morning (10.30 PRIYANKA SHARMA TRADING AS : GAUTAM & Physical 2020 am to 1.30 pm) HEALING CRYSTALS INDIA COMPANY 3 4168693 1 02-03- Morning (10.30 RAMESH KUMAR VERARAMJI M&P IP Physical 2020 am to 1.30 pm) PROTECTORS 4 3311177 41 02-03- Morning (10.30 DR. GOBIND DAYA SINGH MARWAHA DHAIRYA SHAH Physical 2020 am to 1.30 pm) 5 4158704 5 02-03- Morning (10.30 TAURUS LIFE SCIENCES LIMITED KINJAL YOGESH Physical 2020 am to 1.30 pm) MEHTA 6 4158706 25 02-03- Morning (10.30 SD RETAIL PRIVATE LIMITED KINJAL YOGESH Physical 2020 am to 1.30 pm) MEHTA 7 4158705 5 02-03- Morning (10.30 TAURUS LIFE SCIENCES LIMITED KINJAL YOGESH Physical 2020 am to 1.30 pm) MEHTA 8 4163208 6 02-03- Morning (10.30 SMT.SHRUTI GOYAL PROPRIETOR OF OMNIA LEGAL Physical 2020 am to 1.30 pm) M/S VRINDA SALES 9 3660893 5 02-03- Morning (10.30 ZYDUS HEALTHCARE LIMITED NAYAN J. RAWAL Physical 2020 am to 1.30 pm) 10 3666070 5 02-03- Morning (10.30 ZYDUS HEALTHCARE LIMITED NAYAN J. RAWAL Physical 2020 am to 1.30 pm) 11 3920124 5 02-03- Morning (10.30 ZYDUS HEALTHCARE LIMITED NAYAN J. -
A Remarkable Evolution of Over-The-Top Media Platforms in India
Case Report l M ba ed o i l a G Global Media Journal 2021 J ournal Vol.19 No.42:259 The Global Network of ISSN 1550-7521 A Remarkable Evolution of Over-the-top Pankaj Thakur* Media Platforms in India: A Case Study of Department of Business Management, University of Horticulture and Forestry, Business and Regulatory Trends Nauni Solan HP-173230, India Abstract *Corresponding author: Pankaj Thakur The Indian film and entertainment industry has shown a shift from conventional TV and big screen to Over-the-top media platforms. These platforms provide ease [email protected] of access to stream anytime anywhere over the internet. With this study the researcher explored the remarkable evolution of these OTT platforms in India. To critically examine the study, the reasons of popularization of these platforms in Tel: 7590088925 Indian audiences were explored. As these platforms also have to face the criticism for showing inappropriate content, the researcher put insight into the regulatory changes made by the Government. The study implied that the evolution of OTT Department of Business Management, platforms started in 2008 with the launch of BIGFlix. A huge rise in consumer base University of Horticulture and Forestry, had shown due to increased internet and smartphone base after 2015. The quality Nauni Solan HP-173230, India and creative content, youth-oriented population and lockdown due to COVID were the main reason of popularization of OTT platforms. The Government suggested self-classifying of the content and three-Tier mechanism to handle the grievances Citation: Thakur P (2021) A Remarkable associated with these media platforms.