DOCSLIB.ORG

Siddharth Roy Kapur Managing Director Disney India

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Siddharth Roy Kapur Managing Director Disney India Siddharth Roy Kapur Managing Director Disney India After a B.Com from Sydenham College and a Masters in Management Studies from the Jamnalal Bajaj Institute, Siddharth began his career with the Procter & Gamble Company in Mumbai in brand management. From P&G, Siddharth moved to STAR TV in the strategic planning division. After a brief stint in Hong Kong as part of the Newscorp Executive Development Program, he moved back to Mumbai to work on the launch marketing of the first season of 'Kaun Banega Crorepati' on Star Plus. In recognition for the ground-breaking marketing efforts behind the success of the show, he was nominated for the Team Newscorp Global Excellence Awards. Siddharth then moved to the STAR TV Middle East operations, based in Dubai, where he was Regional Marketing Manager for the network, responsible for Ad Sales, Marketing, PR and Corporate Communications for the region. In 2002, Siddharth moved back to the STAR headquarters in Hong Kong, as Director (Marketing) and was promoted to Vice President in 2003. At STAR headquarters in Hong Kong, he led the Central Marketing & Creative Services team, which developed marketing campaigns for STAR channels across India, China, Taiwan, Southeast Asia, the U.K. and the U.S. Siddharth joined UTV in Mumbai in 2005, as Senior Vice President, Marketing & Communications for the Group, across Motion Pictures, Broadcasting, TV Production, Animation and Corporate. He led the marketing efforts responsible for taking Hungama TV to a leadership position in the competitive kids broadcasting space. He also led the marketing efforts behind multiple path breaking films, including the cult blockbuster Rang De Basanti and the sleeper hit Khosla Ka Ghosla, both of which released in 2006 and started a new trend in the way movies were marketed in India. In his next role, he took over the Revenue function at UTV Motion Pictures and was responsible for Distribution & Syndication worldwide, in addition to his Marketing responsibilities. In January 2008, Siddharth took over as CEO of UTV Motion Pictures and after the integration of UTV with The Walt Disney Company (India) in 2012, he held the role of Managing Director, Studios. Responsible for all aspects of Development, Production, Marketing, Distribution and Syndication, he led the studio to incredible commercial success and critical acclaim across a six year period, producing and releasing some of the most important and successful films of the decade, such as Taare Zameen Par, Jaane Tu Ya Jaane Na, Jodhaa Akbar, Fashion, Aamir, A Wednesday!, Dev D, Oye Lucky! Lucky Oye!, Kaminey, Wake up Sid, Raajneeti, Udaan, Peepli [Live], Welcome to Sajjanpur, No One Killed Jessica, Delhi Belly, Paan Singh Tomar, Shahid, Rowdy Rathore, Barfi!, ABCD, Kai Po Che, Yeh Jawaani Hai Deewani, The Lunchbox and Chennai Express. The films produced by UTV under Siddharth’s leadership won numerous awards, including the prestigious National Awards, Filmfare Awards and many others, establishing UTV Motion Pictures as one of India’s most admired and successful studios. 5 of the movies that were selected to represent India at the Academy Awards during this period were either produced or released by UTV. In January 2014, Siddharth was promoted to Managing Director of Disney India, with the responsibility for driving the strategy and growth for The Walt Disney Company in one of its most important growth markets in the world. Disney India’s business spans across broadcasting, movies, consumer products, digital experiences and live entertainment, and is represented through multiple brands namely Disney, UTV, Marvel, Lucasfilm, Pixar, ABC, bindass, Indiagames and Hungama TV. Under Siddharth’s leadership, Disney is today one of India’s leading media and entertainment companies. It is one of the most successful movie studios in the country, one of India’s top 5 broadcasters with the No. 1 Kids network, one of the largest branded licensors of consumer products and India’s leading mobile gaming company. It has co-produced and released both India’s Highest Grossing Movie of All Time (PK in 2014) and India’s highest grossing Hollywood movie of All Time (The Jungle Book in 2016), as well as a host of other successful movies like Kick, 2 States, ABCD 2, Haider, Heropanti, Highway, Khoobsurat and Filmistaan. Most recently it pioneered a new format of entertainment in the country, producing the first-ever Broadway-scale theatrical show to be mounted in India with a completely local cast and crew, Disney’s Beauty and The Beast, which opened to huge commercial and critical success in Mumbai and Delhi. Siddharth is the Vice President of The Producers Guild of India, a Managing Trustee of the Mumbai Academy of Moving Images (MAMI) and is on the Board of the Indian Broadcasting Federation. He was featured on The Economic Times Top 40 Indian Business Leaders Under 40 and The Hollywood Reporter Next Generation Asia Inaugural Class of Young Leaders, amongst numerous other awards for his leadership and achievements. .
Load more

Recommended publications
  • Paper Teplate
    Volume-04 ISSN: 2455-3085 (Online) Issue-03 RESEARCH REVIEW International Journal of Multidisciplinary March-2019 www.rrjournals.com[UGC Listed Journal] Effect of Visuality of Indian Cinema on Society and Individual Psychology Anchal Dahiya M.A (English), D.U. ________________________________________________________________________________________________________ Visuality simply means the state or property of being Bollywood is the most important aspect of Indian cinema. visual. The word was coined by a Scottish historian Thomas Other branches include Tamil Cinema, Bhojpuri cinema, Carlyle. These days the term is much used in the field of visual Parallel cinema etc. For years Bollywood has been affecting culture which includes films, sculptures, paintings etc. Cinema the popular culture of India. From the coming out of the bobby is an immensely popular element of visual culture. colour after the film Bobby to Salman Khan‟s hairstyle in the film Tere Naam and Kareena Kapoor‟s size zero figure in the It embraces limitless possibilities for the expression and film Tashan, Bollywood has never failed to sway the audience representation of ideas, especially in a country like India with and act as a trendsetterfor fashion and music sense of the diverse languages, religions and cultures. Indian cinema binds nation. this diversity in one common thread. It is not only a major source of entertainment but if deployed wisely, it has enormous Let‟s have a look at some of the Bollywood films from the potential of bringing about social changes. last decade that helped in bringing about major cultural changes in India. Films like Girlfriend and Dostana brought Woodman Taylor in his essay, „Penetrating Gazes: Sight forward the gay culture to the popular discourse.
    [Show full text]
  • Gender Basic Course 2013
    GENDER BASIC COURSE 2013 Introduction: JAGORI started out as a collective, with a challenge to take feminist consciousness at the grass root level by interlinking the theory and practice at the same level with a creative aspect so as to reach to women who don’t have means and opportunities to access education. Gender Basic Course (GBC) being one of its main course, is organized every year by JAGORI. It is for those who have recently joined or are contributing to the development sector with an objective of building conceptual clarity on gender, patriarchy and other systems of dominance like caste, class, religion etcetera. The workshop tends to develop a gender lens, for to analyze ongoing activities with reference to the existent development model and its effect on women and other marginalized communities. There were 39 participants from 22 organizations all from 9 different states of India and Nepal, who participated in the Gender Basic Course. These participants are working as grass root organization workers, organization workers, consultants and from various other fields who are engaged with social issues referring specifically to women’s rights. Objectives of the Course: • To develop a basic understanding on the concept of patriarchy and its manifestations on different systems of oppression. • To know the implications of patriarchy as an umbrella having caste, class, gender, sexuality, masculinity and other aspects dominated by it with reference to understand Violence Against Women as its manifestation. • To know about different laws, how they are formulated, its application towards dealing issues of women. • To understand the role of women movement in India and its present status along with challenges it has to face.
    [Show full text]
  • Part 05.Indd
    PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi.
    [Show full text]
  • Bollywood Lens Syllabus
    Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences.
    [Show full text]
  • Khorana Peepli Live FINAL
    Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television.
    [Show full text]
  • UTV Inks Library Syndication Deals Worth Over $1 Million (Which Is Over Rs 4 Crores)
    UTV inks library syndication deals worth over $1 million (which is over Rs 4 crores) ~Multiple deals signed for terrestrial and satellite rights primarily in overseas territories~ Mumbai, Thursday, May 26, 2011: UTV Motion Pictures has recently signed a spate of TV syndication deals for satellite and terrestrial rights for evergreen titles from its growing film library. The deals are cumulatively worth over $1 million (i.e. over Rs 4 crores). These are mainly older catalog titles that have completed their first exploitation and are still in huge demand for television exploitation. UTV Motion Pictures has signed a deal with a leading Korean media firm in Seoul for exclusive terrestrial TV rights for five of its acclaimed films. This limited term and few runs deal includes much-loved films like – Ashutosh Gowariker’s Jodhaa Akbar, Anurag Basu’s Life in a… Metro, Rakeysh Omprakash Mehra’s Delhi-6, Dharma Productions’ Wake Up Sid, and Aamir Khan Productions’ Jaane Tu… Ya Jaane Na. UTV’s movies will also be aired on Al Rai TV in the Middle East for a limited period. The titles in non exclusive satellite free to air deal include Jodhaa Akbar, Race, Kismat Konnection and others. Amrita Pandey, Senior Vice President, International Distribution & Syndication, UTV Motion Pictures, said, ‘For our strong library titles, these television syndication deals add significant revenue even after the first round of exploitation. Our endeavor is to monetize our IP over several platforms on an ongoing basis.’ For the overseas territory UTV and the Zee Network have entered into a limited term deal for non exclusive telecast rights in non-Indian languages for 13 films, including Wake Up Sid, Wednesday, Delhi-6, Dev.D, Kurbaan and others.
    [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]
  • 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]
  • UTV Joins Hands with Ace Director Sundar C and Producer Khushbu Sundar to Produce Masala Café
    UTV joins hands with ace director Sundar C and Producer Khushbu Sundar to produce Masala Café Chennai, October 17th 2011: Continuing its alliance with some of the most prominent names in the South Film Industry, UTV Motion Pictures has now partnered with the popular director Sundar C for his film Masala Café in association with his wife - Khushbu Sundar’s production house Avni CineMax. With a slate of successful films like Ullathai Alli Tha, Mettukudi, Superstar Rajinikanth’s Arunachalam, Kamal Haasan’s Anbe Sivam, Winner, Giri, London, Rendu to his credit, Sundar C is back to writing and directing with his latest venture Masala Café. The film slated to be a comic entertainer stars the current young heroes Vimal, “Mirchi” Shiva, Anjali, Santhanam among others. Sundar C along with directing is also penning the story and screenplay while dialogues are being written by Badri and camera by U.K. Senthil Kumar. The music composer is Ebinizer, from the film Kanden fame.Targeted at the youth, Masala Café will be a summer 2012 release. The film will commence shooting in Kumbakonam and Chennai from November 2011. UTV Motion Pictures, post releasing the highly appreciated Deiva Thirumagal and Muran will also release Vettai, Vazhakku Enn 18/9 and Kumki produced in association with Lingusamy’s Thiruppathi Brothers and is currently in the process of commencing the shooting of Mysskin’s Mugamoodi, starring Jiiva, Narain, Pooja Hegde and others. About UTV Motion Pictures: The Motion Pictures division of UTV, established in 2004, is an integrated studio model in the Indian film industry as well as in the whole of South Asia region.
    [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]