Directors' Report

Total Page:16

File Type:pdf, Size:1020Kb

Directors' Report | NOTICE | DIRECTORS’ REPORT | CORPORATE GOVERNANCE REPORT | MANAGEMENT DISCUSSION AND ANALYSIS DIRECTORS’ REPORT TO THE MEMBERS Your Directors are pleased to present the Thirty First Annual Report with the Audited Statement of Accounts of the Company for the year ended March 31, 2013. RESPONSIBILITY STATEMENT In accordance with the provisions of Section 217 (2AA) of the Companies Act, 1956, in relation to the Annual Financial Statements for the Financial Year 2012-2013, your Directors confirm the following: a) The Financial Statements comprising of the Balance Sheet as at March 31, 2013 and the Statement of Profit & Loss for the year ended on that date have been prepared in the revised format of Schedule VI of Companies Act, 1956 on a going concern and on the accrual basis and in the preparation of these Financial Statements, applicable accounting standards have been followed and there are no material departures; b) Accounting policies selected were applied consistently and the judgements and estimates related to the financial statements have been made on a prudent and reasonable basis, so as to give a true and fair view of the state of affairs of the Company as at March 31, 2013 and of the profit of the Company for the year ended on that date; and c) Proper and sufficient care has been taken for maintenance of adequate accounting records in accordance with the provisions of the Companies Act, 1956, to safeguard the assets of the Company and to prevent and detect fraud and other irregularities. 40 ANNUAL REPORT 2012-13 CORPORATE OVERVIEW OPERATIONAL OVERVIEW BOARD & MANAGEMENT REPORTS FINANCIAL STATEMENTS FINANCIAL RESULTS The outflow on The Financial Performance of your Company for the year ended March 31, 2013 is summarised below: account of Dividend, (` millions) and the tax on Particulars Year ended Year ended such dividend 31.03.2013 31.03.2012 Revenue from Operations 25,659 22,040 distribution, based Other Income 1,189 1,289 on current paidup Total Income 26,848 23,329 Total Expenses 17,329 15,991 capital of the Profit before Tax 9,519 7,338 Company would Provision for Taxation (net) 3,112 2,441 Profit after Tax 6,407 4,897 aggregate to ` 2,245 Add: Balance brought forward 13,328 11,602 million, resulting in Add: Proposed Dividend (including tax) on Equity 8 - Shares bought back and cancelled a payout of 35% Amount available for appropriations 19,743 16,499 of the profits of Appropriations: Dividend 1,919 1,438 the Company on a Tax on Dividend 326 233 standalone basis. General Reserve 1,500 1,500 Balance carried forward 15,998 13,328 EQUITY DIVIDEND Your Directors recommend payment of Dividend of ` 2.00 per equity share of ` 1/- each and such Dividend shall be payable subject to approval of the Members of the Company on the outstanding equity capital as at the book closure date. The outflow on account of dividend, and the tax on such dividend distribution, based on current paid-up capital of the Company would aggregate to ` 2,245 millions, resulting in a payout of 35% of the profits of the Company on a stand-alone basis. BUSINESS OVERVIEW The year marked the completion of 20 years of Brand Zee. In a year which was marked by considerable slowdown in the Indian economy, reflecting focus on superior performance during the year, your Company has recorded industry leading advertising revenue growth of 24% as against overall television advertisement spends which recorded single digit growth. The television media industry continued to grow on the back of better monetisation of subscription revenues. Financial Year 2013 was a defining year in many ways, the biggest transformation being the implementation of Digital Addressable System (DAS) in 42 largest cities of India in two phases. With exciting consumer offers being provided by DTH operators on premium channel subscriptions, Average Revenue Per User (ARPUs) on DTH is growing and your Company believes that a similar effort by digital cable operators will ensure more ZEE ENTERTAINMENT ENTERPRISES LIMITED 41 | NOTICE | DIRECTORS’ REPORT | CORPORATE GOVERNANCE REPORT | MANAGEMENT DISCUSSION AND ANALYSIS DIRECTORS’ REPORT robust growth of the industry for all stakeholders. and Gossip Girl. During the year, your Company enhanced its product portfolios both in Armed with telecast rights from 5 (five) cricket boards covering cricket domestic as well as international markets, with the launch of: matches of almost all test playing countries, your Company’s sports channels continue to enthrall viewers across the country. Some of the other Zee Bangla Cinema : A 24-hour Bangla movie channel. With over major acquisitions during the year include US Open Tennis Championships, 400 exclusive titles under its belt, Zee Bangla Cinema offers a mixed Brazilian Football League and WTA Premier Event Rights. bag of commercial blockbuster and alternative cinema. Your Company continued its focus on expansion in International markets Zee Q : India’s first edutainment channel, aimed at children in the age by signing several deals and launching several channels during the year group of 4 to 14 years to address the educational need gaps through that enhanced the penetration of ZEE network channels in international an engaging mix of home produced and acquired contents. territories and these include : Zee Alwan: An Arabic GEC channel. It is a unique channel aimed at Agreement with Yupp TV IPTV platform in Europe Arab family audiences, showcasing a diverse choice of Arabic serials and popular Indian TV serials dubbed in Arabic. Contract with Russia’s 3rd largest GSM operator Megafon for Mobile TV and with regional analog cable operator Barshinform in Russia Your Company’s flagship channel Zee TV improved its viewership share significantly during the year with the launch of several successful shows, Zing was launched on Rogers, while Zee Salaam and Zee Tamil were including Dance India Dance - L’il Masters, Fear Files, Qubool Hai, launched on Bell Fibe in Canada Sapne Suhane Ladakpan Ke and India’s Best Dramebaaz. Pavitra Rishta Seven ZEE channels were launched on the Indian Pack with TOT continued its successful run and reaching a landmark of 1,000 episodes. (IPTV) in Thailand. DID L’il Masters got the highest rating in any non-fiction launch across all Hindi GECs. Zee Cinema continues to lead the Hindi Movie genre and In Africas, Zee TV became the first ethnic channel to be monitored by TAM strengthened its movie library. During the year, some of the Bollywood’s in South Africa and was positioned within the Top 50 channels out of the biggest blockbusters including Agneepath, English Vinglish, Joker and 120 rated channel-list. In Europe, the first locally produced British Asian Agent Vinod were premiered on Zee Cinema. drama series ‘Cloud 9’ was launched on Zing channel and ZEE TV HD continues to stand out as the first South Asian channel launched in HD Regional entertainment channels of your Company continued their strong format in the US. growth in respective markets. Zee Marathi improved its viewership share and became consistent No. 2 player in Marathi GECs. World television One of our key initiatives in the digital space, India.com which runs the premier of the movie Kaksparsh was hugely successful and had a 4th largest Indian Portal with 7.18 mm monthly unique visitors, owns TVR rating of 6.5 and a reach of 16.4 which was highest for a movie and operates leading websites in key audience categories which include in Maharashtra Market. Zee Bangla had market leadership in non-fiction bollywoodlife.com, cricketcountry.com, health.india.com, oncars.in, travel. genre with 78% market share - driven by shows like Dance Bangla Dance india.com, and bgr.in. India.com runs the largest original production Junior 2012, Sa Re Ga Ma Pa 2012 and Mirakkel Akkel Challenger 7 and content channels on YouTube and has launched 6 Original Programming continues to be a strong player in the Bangla GEC space and had the Channels and uploaded 7,200 hours, 31,000 Videos in 2012. Our second position of No 1 Bangla channel in Digital CS 4+ market at the year end. digital initiative, DittoTV OTT platform launched last year has picked up significant traction in FY2013 and the platform is now present in over 250 Zee Telugu was the No.1 GEC channel in the weekday Primetime fiction countries and offering over 56 channels and boasts of over 1.5 mm users. band between 1800-2030hrs on the back of slot leaders like Pasupu Kumkuma and Muddu Bidda, and had bagged 4 State Nandi Awards SUBSIDIARIES during the year including a Golden Nandi for Pasupu Kumkuma. Zee As at March 31, 2013, the Company has 18 subsidiaries in India and Kannada has consistently been at No.3 spot in the viewership ranking Overseas. During the year under review, APAC Media Ventures Limited, in its genre with its top performing shows during the year Kaas Ge Toss, Hongkong - a wholly owned subsidiary of Asia Today Limited, Mauritius Mummy No. 1, Radha Kalyana and Parvati Parameshwara. Zee Tamil and a step down subsidiary of the Company filed an application in February during the year maintained its No.4 position among Tamil GECs with its 2013 for dissolution with Companies Registry, Hongkong since the most successful talk show ‘Solvathellam Unmai’ and has improved its business operations in the region is currently being managed by another viewership share in weekday primetime band and is a No. 3 player in that wholly owned subsidiary of Asia Today Limited viz. Zee Technologies band. (Ghuangzhou) Limited. Zee Cafe has emerged as a leading player in the English Entertainment During the year under review, ITM Digital Private Limited a wholly genre and has acquired some of the best entertainment shows in English owned Indian Subsidiary of the Company was renamed as Essel Vision genre including The Big Bang Theory, Vampire Diaries, Miss Universe 2012 Productions Limited, which is engaged in the business of production of 42 ANNUAL REPORT 2012-13 CORPORATE OVERVIEW OPERATIONAL OVERVIEW BOARD & MANAGEMENT REPORTS FINANCIAL STATEMENTS television /film contents, mainly catering to Zee Network channels.
Recommended publications
  • Decisions Taken by BCCC 16 April 2014 to 22 August 2015
    ACTION BY BCCC ON COMPLAINTS RECEIVED FROM 16 APRIL 2014 TO 22 AUGUST 2015 S.NO Programme Channel Total Nature of Complaints Telecast Action By BCCC Number date of the of programme Compla reviwed by ints BCCC Receive d A : SPECIFIC CONTENT RELATED COMPLAINTS A-1 : Specific Content related complaints Disposed 1 2015 Movie Awards VH1 1 During the telecast, performers made some highly indecent 13.04.2015 Channel’s representatives appeared before BCCC. After detailed gestures. One of them grabs another man’s crotch and tries to deliberations, the channel was asked to run an Apology Scroll for three days. reach for his nipples saying, “I am gonna milk those nipples.” Also, Detailed Order is being issued. a suggestive term ‘girl power’ was used for referring to vagina and a female performer is heard telling the audience that her “vagina looks more like a neat burrito rather than a stand and stuff taco”. While the word vagina has been beeped/ muted, its description is denigrating to women. Acts performed on stage were highly indecent, sexually explicit, adult, vulgar and suggestive. Irrespective of the time, the content violates Licence Term and Programme Code of Cable TV Network Rules. 2 Dance India Dance Zee TV 2 Episode-1, 27/06/15: The dance performance of two girls was 27.06.2015 BCCC viewed the episode and did not find the dance to be vulgar or vulgar as it was exposing their bodies. Such acts spoil Indian 26.07.2015 obscene. The complaint was DISPOSED OF. culture. Episode-2, 26/07/15: The performance by contestant Pronita on the song ‘Kundi na khadkao raja’ was out-and-out vulgar.
    [Show full text]
  • MSM – Industry Update and the Road Ahead Man Jit Singh
    MSM – Industry Update and the Road ahead Man Jit Singh 10 June 2013 - Confidential - 0 Agenda Multi-Screen Media – 5 year outlook 2 ― Advertising Market Overview 4 ― Update on Distribution & Digitization 9 Market developments ― Impact of New Media 16 ― Market landscape and Competition Update 19 ― Regulatory Update 29 The Road Ahead 33 Strategic New Initiatives 39 Recap – Putting it all together 95 - Confidential - 1 Multi-Screen Media – 5 year outlook - Confidential - 2 FY13 has been a good year… Total Revenues* and EBIT (USD M) 23% 25% 600 CAGR 26% 20% 22% 16% 18% 593 14% EBIT % 553 250 USD M USD 363 396 10% 266 6% 5% 2% FY09 FY10 FY11 FY12 FY13 -100 -2% -1% Revenue EBIT % EBIT (3.5) 16.4 65.2 138.0 140.0 MSM is well poised to progress in the next 5 years *Net of Payouts - Confidential - 3 Advertising Market Overview - Confidential - 4 Advertising spend is expected to hit a tipping point in the next 5 years Despite the increase in ad revenue in recent years, the advertising to GDP ratio in India is still at a low of 0.53% versus developed economies like the U.S, U.K. and China, indicating significant potential for future growth Television ad market has grown steadily over the last several years; from USD 1.3 Billion (INR 71 Billion) in advertising revenues in 2007 to an estimated USD 2.5 Billion (INR 139 Billion) in 2013 and a projected USD 4.4 Billion (INR 240 Billion) in 2017 Projected increase in total advertising spend, coupled with strong growth in television viewership, makes India a very lucrative television market Size
    [Show full text]
  • Apeksha Harihar Gurman Bhatia
    APEKSHA HARIHAR GURMAN BHATIA A REPORT ON THE SOCIAL MEDIA STATE OF INDIAN TELEVISION INDUSTRY THE TELEVISION INDUSTRY ON SOCIAL MEDIA HAS EMBRACED THE MARKETING CHANNEL A BIT LATE IN THE DAY. THOUGH THE SOCIAL MEDIA SUCCESS OF THE CHANNELS IS DIRECTLY PROPORTIONAL TO THE TAM RATINGS, MOST OF THEM HAVE A SIMILAR STRATEGY. NONE OF THE CHANNELS IS DOING ANYTHING VIVIDLY DIFFERENT FROM THE OTHER. YOU NEED TO UNDERSTAND THAT SUCCESS ON SOCIAL MEDIA DEPENDS ON THE HOW ORIGINAL THE CONTENT IS. ON TELEVISION, THOUGH EACH ONE HAS A SIMILAR SET OF TARGET AUDIENCE, YOU CAN TELL APART BY VIEWING THE SHOWS EACH ONE HAS TO OFFER. SIMILARLY, ON SOCIAL MEDIA IF YOU DO NOT ACCOMPLISH INNOVATIVE CAMPAIGNS, IT IS NOT GOING TO WORK IN YOUR ADVANTAGE. DURATION OF STUDY - 30 Day Sample for The Year 2013 1 2 COLORS CHANNEL Colors, one of the most popular television channel owned by Viacom 18 targets a Hindi speaking crowd in over 90 cities of India. The channel projects a youthful personality. Soon after its launch, the channel hit high numbers owing to popular shows like Balika Vadhu, Big Boss etc. Within the first 10 weeks of the launch, Colors enjoyed a 24% market share and reached the no. 2 spot among competitors. Today, the viewership is skyrocketing and the channel maintains a current average TRP rating of 2, highest being 2.8 of Balika Vadhu. 3 COLORS HAS AN IMPRESSIVE PRESENCE ON FACEBOOK. WITH A FAN FOLLOWING OF 1.9 MILLION, the content strategy of the channel is pleasing. The growth rate of the page draws a straight line towards the top on the charts, standing at 7.4%.
    [Show full text]
  • 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.
    [Show full text]
  • KBC, India's Most Famous Game Show: an Analyis
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/348295598 KBC, India's most famous game show: An Analyis Article in ACADEMICIA An International Multidisciplinary Research Journal · December 2020 DOI: 10.5958/2249-7137.2020.01740.1 CITATIONS READS 0 27 1 author: Karunakar B. Narsee Monjee Institute of Management Studies 21 PUBLICATIONS 3 CITATIONS SEE PROFILE All content following this page was uploaded by Karunakar B. on 07 January 2021. The user has requested enhancement of the downloaded file. ACADEMICIA ISSN: 2249-7137 Vol. 10 Issue 12, December 2020 Impact Factor: SJIF 2020 = 7.13 ACADEMICIA An International Multidisciplinary R e s e a r c h J o u r n a l (Double Blind Refereed & Peer Reviewed Journal) DOI: 10.5958/2249-7137.2020.01740.1 KBC, INDIA’S MOST FAMOUS GAME SHOW: AN ANALYSIS Dr B Karunakar* *NMIMS Hyderabad, INDIA Email id: [email protected]; [email protected] ABSTRACT Today, there are more than a dozen reality shows on air across all kinds of channels, from general entertainment to youth channels to the regional, all on prime time. These reality shows offer a wide scope for brand visibility. In this context, Kaun Banega Crorepati as a reality show was studied for its impact and the economics involved. The attempt of this article is to provide insights on the working of the TV channels, production houses, marketers & advertisers that provide the sponsorship, the general comparison of reality shows with serials and the overall impact created. KEYWORDS: Sponsorship, Reality Shows INTRODUCTION Amid the COVID-19 lockdown, 'Kaun Banega Crorepati' (KBC) Season 12, hosted by India’s famous actor Amitabh Bachchan caught the attention of audiences as millions logged in to participate in the show during May 2020.
    [Show full text]
  • Humans of Somaiya
    January I, 2018 VOL.01.ISSUE.006 तब स े अब तDesign Credits,:क Riya Thakkar, FYBA, KJSAC The Somaiya Alumni Reunion Hooner 2017 - KJSAC fest 2018 December is the time when the winter has just set in. It's the Treasure hunt, Fine art quest were a must for participation. 20 Janurary, 2018 time of festival, weddings and vacation. But among that Pre-events like Anchorship, Cosmos poetry, Musically, one of the most anticipated college fest takes place. Caption the picture etc. had set Hooner'17 into motion. 'HOONER' - the intercollegiate fest of the KJSAC Other pre-events like Flash-mob and Funfair were held on Somaiya Vidyavihar and Ayurvihar, celebrated the Alumni (Degree) is at its prime. And with this year's theme the14th and 15th of Dec while the main festival happened on th Reunion on 20 January 2018 in the Vidyavihar campus at ‘Cosmos’ it had begun with a rocking start. the 20th & 21st of Dec. Hooner’ 17 was inaugurated by the Gargi plaza with great enthusiasm. The basic theme of the Cosmos is defined as the Universe, the Uncharted well-known Marathi film and theater actors, the star cast of event was retro as the special invitees to this event were the World. But it can be described as one's will to achieve and 'Yere Yere Paisa'. In order to judge various events, batches from the 80's and 90's.The function started at 5:15 their dreams that can take them on a journey beyond proficient personalities like Ajinkya Thakur, the Swirling pm with the campus prayer, lighting of lamp, invocation in horizons and taking a leap into the unknown.
    [Show full text]
  • Dance-Off Or a Battle for the Future: Dance Reality Shows in India
    CHAPTER 14 DANCE-OFF, OR A BATTLE FOR THE FUTURE Dance Reality Shows in India PALLABI CHAKRAVORTY Hindu mythology tells us that a most reasonable method of settling an argument is a dance-off. The story involves two of the most powerful Hindu deities, Shiva and Kali (who are husband and wife). Once they clashed over territorial dominance of the Thillai forest in the southern part of India. Kali was the patron goddess of the forest and the temple within it. But Shiva, following his two devotees who wanted to worship him in the temple (in the form of his abstract representation called the Shiva lingam), came to dance in the forest. This basically meant that Shiva wanted to occupy the forest and oust Kali. Kali refused to leave and challenged Shiva to enter a dance competition with her on the condition that the loser would leave the forest. Lord Vishnu presided as the judge. Kali (the goddess of Shakti, or power, who is often shown naked in Hindu iconog­ raphy, standing on the chest of her consort Shiva, prostrated beneath her) danced fear­ lessly. She matched Shiva’s every move and every posture with ease and grace. Shiva, the cosmic dancer of the universe, danced his tandava nritya (the cyclic dance of cre­ ative destruction) with fierce intensity. They were unrelenting. They danced for days and nights, but no one won. Then Shiva performed a transgressive act. He cheated. He lifted one of his legs high above his head in what classical dance parlance calls ananda tandavam (the dance of bliss).
    [Show full text]
  • THE LEADING SOURCE for PROGRAM INFORMATION *LIST 0114 ALT LIS 1006 LISTINGS 1/16/14 12:50 PM Page 2
    *LIST_0114_ALT_LIS_1006_LISTINGS 1/16/14 12:50 PM Page 1 WWW.WORLDSCREENINGS.COM JANUARY 2014 NATPE EDITION TVLISTINGS THE LEADING SOURCE FOR PROGRAM INFORMATION *LIST_0114_ALT_LIS_1006_LISTINGS 1/16/14 12:50 PM Page 2 MARKET FLOOR 10 Francs 425 Cineflix Rights 304 France Televisions Distribution 425 Motion Picture Corp. of America 132 SBS International 518 100% Distribution 425 CITVC 400 Fred Media 106 Multimedios Televisión 115 Scorpion TV 331 AB Media 415 CJ E&M 417 Fuji Television Network 113 Muse Distribution International 213 Shanghai TV Festival 608 AccuWeather 117 Construir TV 421 Gaumont Animation 425 Newen Distribution 120 Shoreline Entertainment 204 ADD Agency 130 CT Media 231 Global Agency 301 NHK Enterprises 521 Superights 425 AFP 505 David Harris Katz Entertainment 116 GMA Worldwide 104 Nippon Animation 531 Switch International 134 American Cinema International 508 DCD Rights 300 GoldBee 533 Nippon Television Network 228 Taipei Multimedia Production 515 Aniplex 311 DHX Media 316 GRB Entertainment 510 Nollywood Worldwide Entertainment 332 TF1 International 425 APA International Film Distributors 404 DIRECTV Latin America 628 Greenlight International 232 NuRay Pictures 124 Toei Animation 215 Argonon 31a DLT Entertainment 401 Hasbro Studios 102 Octapixx Worldwide 308 Triangle Entertainment 626 Arte France 425 DRG 201 Hoho Entertainment 331 Olympusat 624 TV Asahi 233 ATM Broadcast 325 Echo Bridge Entertainment 221 ITV-Inter Medya 421 Ooyala 604 TV France International 425 Audiovisual from Spain 225 Egeda US 616 Kanal D 410 Optomen Television 331 TV Latina 604k Begin 108 Electric Sky 331c KBS Media 419 Osiris Entertainment 212 TVS 218 Bender Media Services 411 Electus International 127 Keshet International 634 Pact/UK Indies 331 Twofour 331 Beverly Boy Productions 126 Elk Entertainment 138 KOCCA 415 Passion Distribution 331b Upside Distribution 425 Bonneville Distribution 501 Espresso TV 331 Lagardère Entertainment Rights 118 Peace Point Rights 312 VIPO Land 226 Boomerang TV 225 Epic Films 114 Latin Media Corp.
    [Show full text]
  • Indian Reality Television Shows: Ordinary People, Celebrity and the Fame Cycle
    Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Indian Reality Television Shows: Ordinary People, Celebrity and the Fame Cycle Taranjeet Kaur Chawla Research Scholar Department of Journalism and Mass Communication Manipal University Jaipur, Rajasthan, India Email- [email protected] Dr. Rayaz Hassan Associate Professor & Head of the Department Department of Journalism and Mass Communication Manipal University Jaipur, Rajasthan. India Dr. Oinam Bedajit Meitei Assistant Professor Department of Mass Communication and Journalism Central University of Karnataka, India Abstract- In this paper, we discuss the phenomenon of Indian reality television shows explore its function for those participating in it. Drawing on the success of their talent hunt programmes such as Sa Re Ga Ma Pa, Indian Idol and Dance India Dance, this research work argues that reality television appeals in different ways to participants and celebrities at different points in the fame cycle. ‘Ordinary’ people seeking to become known through using reality television as an opportunity. To understand the importance of Indian reality television shows for ordinary people and considering fame as a cyclical process, a survey of opinions has been conducted through questionnaire among students of media and communication studies. The present study explores how a successful reality television show cast ordinary people who are at a range of points in the fame cycle as seek to develop their own image and those whose careers are in a period of ‘post-celebrity’ who seek to renew their fame and to prove a key attraction for audiences. Keywords - Celebrity, Fame, Indian reality television, Ordinary people I. INTRODUCTION When television expanded in India, it also provided the space for genre of reality television.
    [Show full text]
  • Zee Entertainment Y 2012 Earnings Call 22 May'12
    Zee Entertainment Y 2012 Earnings Call 22 May’12 Operator Ladies and gentlemen, good day and welcome to the Zee Entertainment Enterprises Limited Q4 FY 2012 Results Conference Call. As a reminder, all participant lines will be in the listen‐only mode. There will be an opportunity for you to ask questions at the end of today's presentation. Please note that this conference is being recorded. I would like to hand the conference over to Mr. Kawaljit Singh from Zee Entertainment Enterprises Limited. Thank you, and over to you sir. Kawaljit Singh, Senior Manager, Corporate Strategy and Business Development Thank you Marina. Ladies and gentlemen, thank you for joining us today. This conference call has been organized to update our investors on the Company's performance in the fourth quarter of fiscal 2012, and to share with you the outlook of the Management of Zee Entertainment Enterprises Limited. We do hope that you have had the chance to go through the earnings release and the results, both of which have been uploaded on our corporate website, zeetelevision.com. To discuss the results and performance, joining me today is Mr. We will start with a brief statement from Mr. Goenka on the fourth quarter performance. And we'll then open the discussion for questions and answers. I would like to remind everybody that anything we say during this call that refers to our outlook for the future is a forward‐looking statement and must be taken in the context of the risk that we face. We would also like to add that this call is purely for our analysts and investors.
    [Show full text]
  • Contemporary Dance in India Today a Survey
    CONTEMPORARY DANCE IN INDIA TODAY A SURVEY Annette Leday With the support of the Centre National de la Danse, Paris (Aide à la recherche et au patrimoine en danse) Translation from the French commissioned by India Foundation for the Arts and Association Keli-Paris 2019 Anita Ratnam (Chennai): "In India the word 'contemporary' applies to anyone who wants to move away from their guru or from the tradition they have learned, to experiment and explore." Mandeep Raikhy (Delhi): "We have rejected the term 'contemporary' and we are still looking for an alternative term." Vikram Iyengar (Kolkata): "I think the various layers of what constitutes "contemporary" in Indian dance have not yet been defined." CONTENTS PREFACE 1 1. INTRODUCTION 4 2. SOME HISTORICAL MARKERS 5 a) Mystifications 5 b) The pioneers of modern dance 7 3. SOME GEOGRAPHIC MARKERS 10 4. A TYPOLOGY OF CONTEMPORARY DANCE IN INDIA 13 a) The 'Neo-Classics' 13 b) Towards radicality 17 c) A suspended space 19 d) Shunning the classics 21 e) Between dance and theatre 22 f) The Bollywood phenomenon 23 g) Commercial contemporaries 25 5. THEMES 26 a) The nurturing techniques 27 b) The issue of Indian identity 28 c) Themes of yesterday and of today 29 d) Dance and politics 30 6. THE CREATIVE PROCESS 33 7. PRESS, CRITIQUE AND FORUMS 35 8. TEACHING AND TRANSMISSION 37 9. VENUES AND FUNDING 41 a) Places of performance 41 b) Festivals 43 c) Working places 45 d) Funding 47 e) Opportunities 48 10. INTERNATIONAL CONTACTS 49 11. PERSPECTIVES 54 12. CONCLUSION 56 PREFACE After a decade immersed in the Kathakali of Kerala, I engaged in a dynamic of contemporary choreography inspired by this great performing tradition.
    [Show full text]
  • Gender Issues in Hindi Language Family Based Teleserials
    International Journal of Scientific and Research Publications, Volume 8, Issue 4, April 2018 430 ISSN 2250-3153 Gender Issues in Hindi Language Family Based Teleserials Sudha Sachdeva Department of Development Communication and Extension, Lady Irwin College University of Delhi DOI: 10.29322/IJSRP.8.4.2018.p7660 http://dx.doi.org/10.29322/IJSRP.8.4.2018.p7660 Abstract- Teleserials in India constitute major share of the time devoted to entertainment programmes on the Hindi language channels of Indian television. In India, teleserials rose to popularity after Humlog, the first TV serial that became a major success on Doordarshan. Liberalization and globalization led to the private channels started telecasting mega serials about big business families. The year 2008 led to the birth of Colors TV as a new channel, and Balika Vadhu, as a women centric thematic soap. A new shift in the emphasis in the content of family based teleserials was observed. UN and CEDAW guidelines as well as Beijing 20 laid emphasis on portrayal on women in media and its linkages with gender empowerment. Content of teleserials became a question of primary concern. As a part of the doctoral study on ‘Gender issues in the Hindi language family based teleserials’, an analysis of the primary themes of the content of 182 teleserials on Youtube over the time frame 2008-2016 was conducted across four popular Hindi channels i.e. Starplus, Zee TV, Sony and Colors within the context of gender. A total of 182 family based teleserials were telecasted across the four identified channels between 2008-2016. Of them, 87 teleserials (47.80%) revolved around women and gender.
    [Show full text]