Shemaroo Entertainment Limited Investor Presentation – May 2015 Index
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Barbados Turf Club Officials 2021
BARBADOS TURF CLUB OFFICIALS 2021 ___________________________________________________________________________________________________ BOARD OF DIRECTORS Stephen Walcott QC (President) Kevin Burke John Humphrey David Murray CPA, CGA, CA (Vice President) John Chandler Stephen Jardine Rawle Batson EM JP Gregg Goddard Angela Simpson RACECOURSE STEWARDS Messrs. Rawle Batson EM JP (Chief Racecourse Steward), Ronald Thornton, Peter Chase & John Jones STEWARDS OF THE DAY Messrs. Stephen J. Walcott QC, Edgar Massiah, Ronald Thornton & Peter Chase (Stewards) Mr. Jeffrey Chandler (Stipendiary Steward) PROBATIONARY STEWARDS Messrs. Brett Callaghan & Wayne Elliott SECRETARY TO STEWARDS Dawn Martin ADMINISTRATION Rosette Peirce (Secretary/C.E.O), Ezra Thomas (Track & Paddock Superintendent), Elvis Benn (Track & Paddock Supervisor) Victor Gaskin (Senior Accountant), Rosaline Drakes (Secretary), Claudette Hutchinson (Accounts Clerk) Mohommed Mohamad (Horseman’s Liaison/Racing Division Officer), Junior Franklyn (Racing Division Officer) Ann-Maria Jemmott (Customer Service/Racing/Marketing & Public Relations Clerk) RACING OFFICIALS Richard Toppin Judge Roy Hughes Handicapper Mark Harding Assistant Judge Raphael Greene Probationary Handicapper Stephen Belgrave Timekeeper Nicolas Small Probationary Handicapper Mark Batson Starter Victor Kirton False Start Judge Stephen Thorne Assistant Starter Clarence Alleyne Pari Mutual Manager Evan Donovan Clerk of Scales Bertie Corbin BSS Track Announcer Amanda Kelly Assistant Clerk of Scales Dr. Dean Springer DVM Race Caller Charles Smith Clerk of Saddling Area Lindon Yarde Race Caller/ Colour Commentator Kevin Hill Clerk of the Parade Ring/ Assistant Clerk of Scales Eustace Joseph Farrier Kenny Joseph Farrier MEDICAL OFFICERS VETERINARY OFFICERS Dr. Winston Batson Bsc, (Hons) MBBS Dr. Trevor H. King BVM & S (Edin) Dr. Karen Bynoe MBBS Dr. Alan Storey BVM & S (Edin) Dr. Satera Watson MBBS Dr. Gus Reader BV Sc. -
AUGUST 2019 Investor Presentation
1 Investor Presentation Shemaroo Entertainment Limited AUGUST 2019 2 ABOUT SHEMAROO 3 At a Glance Over 55 years experience as a Household One of the largest content houses with Offering content to most Bollywood services Media Brand 3700+ content library across leading platforms Offering content across Bollywood, Strong understanding of Consumer's Strong content offerings in multiple countries Devotional, Regional, Comedy, Kids, Health Entertainment Needs across the globe & Lifestyle, etc. REVENUE EBITDA PAT NETWORTH FY19 FY19 FY19 FY19 INR 5,678 Mn INR 1,578 Mn INR 830 Mn INR 5,717 Mn 5 Year CAGR 16.50% 5 Year CAGR 19.67% 5 Year CAGR 25.00% 5 Year CAGR 26.79% 4 Overview • Founded in 1962 as a book circulating library, today Shemaroo Entertainment Limited (Shemaroo) is a leading Indian content power house with a global reach, headquartered out of Mumbai and employs over 750 people. • Shemaroo is a pioneer in content aggregation and distribution in India and globally with offerings spread across Television, Mobile, Internet, OTT, etc. • Identifying that movies have the longest shelf life for television and other media content, Shemaroo pioneered the movie library syndication business by acquiring movie titles from producers and distributing it to broadcasters and other media platforms. • Shemaroo has grown multifold over the years, developing excellent relationships across the media industry value chain, to become one of the largest organised players in a fragmented industry. • The company’s digital business contribution has grown from -
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message
Indian entertainment and media outlook 2010 2 Indian entertainment and media outlook 2010 Message To our clients and friends both in and beyond the entertainment and media industry : Welcome to the 2010 edition of PricewaterhouseCoopers’ Indian Entertainment and Media (E&M) Outlook, covering the forecast period of 2010–2014. Our forecasts and analysis for this edition focus on eight major E&M industry segments and one emerging segment. Each segment details out the key trends observed and challenges faced apart from providing the prospects for the segment. In the industry overview section, we have highlighted the key theme observed during 2009 and what we perceive as future trends in the coming years. We have a chapter on the tax and regulatory impact on the various E&M segments and for the very first time we have included a chapter on how technology can be leveraged in the E&M industry. In 2009, the economy severely impacted the world, translating into steep declines in advertisement as well as consumer spending. India though impacted, did manage to show growth with increased consumer spending as well as innovative action on the part of the industry. Against this backdrop, across the world, except certain markets, speed of digital spending increased due to changing consumer behavior as well as technology available to deliver the same. In India, while the spend on digital media is likely to grow, it is unlikely that it will dominate in the forecast period. This is largely due to the relative unavailability as well as unaffordability of the broadband and mobile infrastructure. -
SHALINI RAGHAVAN CMO, CONSUMER PRODUCTS DIVISION L’ORÉAL INDIA DUREX a Cheeky Move a Little Misdirection Does 10 Not Hurt at All
April 16-30, 2017 Volume 5, Issue 21 `100 6 INTERVIEW SHALINI RAGHAVAN CMO, CONSUMER PRODUCTS DIVISION L’ORÉAL INDIA DUREX A Cheeky Move A little misdirection does 10 not hurt at all. GIONEE 7 Self-obsessed? How is Gionee doing in the selfie wars? 8 KFC “AGENCIES ARE Rapping Differently Have a Chizza, not a pizza says Baba Sehgal. TERRITORIAL” BARC Introducing Ekam 9 Raghavan on the challenges faced by a cosmetics MOTO marketer in the era of selfies and self-adulation Bringing out the Best 16 CAMPAIGN TRAIL Ads of the Fortnight 20 MOVEMENTS / APPOINTMENTS Cover Story Powered By: Who’s Where... 22 editorial This fortnight... Volume 5, Issue 21 ast year, when Shalini Raghavan moved from Hindustan Unilever, where she EDITOR Sreekant Khandekar L managed the Dove master-brand across Asian and African markets, and joined PUBLISHER April 16-30, 2017 Volume 5, Issue 21 `100 L’Oréal India to take charge of the consumer products division, we carried a basic Prasanna Singh 6 INTERVIEW ‘movement story’ on afaqs.com. EXECUTIVE EDITOR SHALINI RAGHAVAN CMO, CONSUMER Ashwini Gangal PRODUCTS DIVISION L’ORÉAL INDIA DUREX A Cheeky Move ASSOCIATE EDITOR A little misdirection does That article has since received a surprising, almost shocking, number of views and 10 not hurt at all. Sunit Roy has clocked over 1,000 shares. Turns out, Shalini is a person of interest in the Indian PRODUCTION EXECUTIVE marketing and advertising fraternity. So, we at afaqs! Reporter took a data-led decision Andrias Kisku GIONEE 7 Self-obsessed? to get to know Shalini and her brand of leadership a little better. -
Shemaroo Entertainment Limited
DRAFT RED HERRING PROSPECTUS Dated September 19, 2011 Please read section 60B of the Companies Act, 1956 (This Draft Red Herring Prospectus will be updated upon filing with the RoC) 100% Book Building Issue SHEMAROO ENTERTAINMENT LIMITED Our Company was originally incorporated as a private limited company under the Companies Act, 1956 on December 23, 2005, with the name Shemaroo Holdings Private Limited. Subsequently, pursuant to a Scheme of Arrangement approved by the Hon’ble High Court of Bombay vide order dated March 7, 2008 and by the special resolution of our shareholders dated May 28, 2008, the name of our Company was changed to Shemaroo Entertainment Private Limited and a fresh certificate of incorporation was granted to our Company on June 3, 2008, by the RoC. Thereafter, pursuant to a special resolution of our shareholders dated March 26, 2011, our Company was converted to a public limited company and a fresh certificate of incorporation consequent to the change of status was granted on April 1, 2011, by the RoC. For further details in connection with changes in the name and registered office of our Company, please refer to the section titled “History and Certain Corporate Matters” on page 95 of this Draft Red Herring Prospectus. Registered and Corporate Office: Shemaroo House, Plot No.18, Marol Co-operative Industrial Estate, Off Andheri Kurla Road, Andheri East, Mumbai- 400059 Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 Contact Person and Compliance Officer: Mr. Ankit Singh, Company Secretary; Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 E-mail: [email protected]; Website: www.shemaroo.com PROMOTERS OF OUR COMPANY: MR. -
Report on Shemaroo
INTRODUCTION Reinvention’ has been one of the key words in the richhistory of Shemaroo Entertainment. In a constant effort to adapt with the changing ecosystem, the company has diversified its business portfolio across segments and reoriented its focus from b2b to b2c. Rather than emphasising only on digital, it is emerging as media agnostic to serve every screen of consumption that exists. One of the major steps towards the reinvention was the revamp of brand identity. In 2018, it underwent a brand refresh. The main target of the refresh was to reach new age consumers and re-establish the b2c connect. The logo was revamped and a new tagline was brought in to create a colourful identity. As we can see, the new logo comprises a series of overlapping layers in rich Indian colours standing for Shemaroo’s promise of offering an imaginative range of zesty Indian content to a diverse group of consumers. The shape of the design elements has been derived from the digital play button. The company also announced India Khush Hua as its new tagline, to convey the message of how it wants to bring joy to Indians with multi-genre offering. In the later part of the same year, Shemaroo revealed the logo of its biggest bet in recent times –ShemarooMe. Soon after that, the OTT platform was launched amid the presence of popular Bollywood faces. Rather than focusing on the rat race, Shemaroo perceived the new journey as a “marathon” without splurging or laying a hand on every genre. While it banked on its popular titles at the time of launch, it has expanded its content massively over the last two years. -
A Love Story of Fantasy and Fascination: Exigency of Indian Cinema in Nigeria
Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema. -
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. -
Download Disco Dancer Movie
Download disco dancer movie Disco Dancer Movie HD Video. Disco Dancer - Mithun Chakraborty | Kim Yashpal - Superhit Hindi Movie - (With Eng Subtitles) by Shemaroo Download. Disco Dancer () - Hindi Full Movie - Mithun Chakraborty - Bollywood Superhit 80's Movie by Shemaroo Movies Download. I am a disco dancer... at first Disco star Mithun da in India. All Songs of Disco Dancer {HD} - Mithun. Watch Disco Dancer - Mithun Chakraborty - Bollywood Superhit 80's Classic Movie - Full Length - High. disco-dancer-wallpaper. Direct Download Links For Hindi Movie Disco Dancer MP3 Songs: Song Name, ( Kbps). 01 I Am A Disco Dancer, Download. Drama · Jimmy promises to return to Bombay and become a famous entertainer so that he can .. Trivia. one of the earliest film of Om Puri where he acted in mainstream cinema. See more» Photography · Audible Download Audio Books. Download Disco Dancer () Songs Indian Movies Hindi Mp3 Songs, Disco Dancer () Mp3 Songs Zip file. Free High quality Mp3 Songs Download. A street singer and dancer, Anil has the burning ambition to make it big as a disco dancer. Overcoming obstacles he becomes Jimmy, the rage of disco dancing. Download Disco Dancer bollwood Mp3 Songs. Disco Dancer BollyWood Mp3. Disco Dancer Movie Cast and Crew. songs cover preview. Movie/Folder Name. Download Disco Dancer Array Full Mp3 Songs By Kishore Kumar Movie - Album Released On 16 Mar, in Category Hindi - Mr-Jatt. Disco Dancer () Hindi mp3 songs download, Kim, Mithun Chakraborty Disco Dancer Songs Free Download, Disco Dancer () old movie mp3 songs. Disco Dancer Songs PK Download, Disco Dancer Mp3 Song Free Download, Disco Dancer Movie Songs Mp3 Download,Disco Dancer Film PK Song. -
Soviet-Indian Coproductions: Ali Baba As Political Allegory
Soviet-Indian Coproductions: Ali Baba as Political Allegory by MASHA SALAZKINA Abstract: This essay considers the history of Soviet Indian coproductions focusing on Ali Baba and 40 Thieves (1980) as a political allegory over the fate of the multination state. It addresses the formal utopian character of the fi lm and the excessive threat of sexual violence in the song-and-dance numbers. he subject of this essay is the little studied phenomenon of the Soviet-Indian cinematic coproductions. While giving a general outline of the history of these coproductions, I focus primarily on the most commercially successful of these joint efforts, Ali Baba and 40 Thieves (Alibaba Aur 40 Chor/Priklyucheniya Ali-Baby Ti soroka razboinikov, Latif Faiziyev and Umesh Mehra, 1980), henceforward Alibaba. I argue that the fi lm contains a political allegory expressing anxiety over the fate of the multination state; that anxiety lies beneath the formal utopian character of the fi lm, which attempts to show the constitution of a new community on the screen and to defi ne the role of its political subject in the face of crime and governmental corruption. I will address these issues through discussing the directors’ choice of the material (a story from One Thousand and One Nights, or The Arabian Nights, as it is better known in English); the narrative structure of the fi lm; performance histories of the Indian and Soviet actors; and, fi nally, through a reading of the excessive threat of sexual violence concentrated in the fi lm’s song-and-dance numbers. Alibaba, I con- tend, is of interest not only due to the formal and institutional hybridization of two autonomous cinematic traditions, Indian and Soviet, but also as a cultural object which displays a shared anxiety over the role of the state as its existing political and economic order moves palpably toward the brink of collapse. -
King's Research Portal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal DOI: 10.1080/20403526.2017.1258160 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Smith, I. R. (2016). Theorising cult cosmopolitanism: The transnational reception of Bollywood as cult cinema. Transnational Cinemas, 1-15. 10.1080/20403526.2017.1258160 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.