Spice Mobile VAS (formerly Cellebrum)
The spice group promoted company has recently gone through rebranding and is now called as ‘Spice Mobile VAS’. The company is headquartered in Parwanoo in HP. Spice Mobile VAS has presence in 10 countries and employs around 450 people. Its corporate office is in Noida and registered office is in New Delhi. It also has regional offices in Chandigarh, Mumbai, Kolkata, Lucknow and Bangalore. Spice Mobile VAS is a technology enabler in wireless application space. The company develops applications for three main segments - voice based services, messaging and roaming.
Sunday, July 27, 2008
PayMate
PayMate established in 2006 is a Mumbai based wireless transactions platform provider. It spin-off from Coruscant Tec, to on wireless content. PayMate has created a viable ecosystem to enable wireless transactions connecting banks, switches, merchants and customers using a simple, secure and seamless technology.
PayMate portfolio includes products like GiftMate, FlyBuySms and many more value added services which go beyond just payments to stuff like mobile shopping and gifting. The primary offerings of PayMate are : one, Payment Services where consumers can use their credit card via mobile phones for in-person and remote purchases and transactions like shop online, buy movie & airline tickets, pay bills at restaurants and retail stores, etc. Two, Gift Mate, a mobile voucher, which enables one to gift money to anyone with a mobile phone which can then be spent at over 3,000 online and offline stores.
PayMate portfolio includes products like GiftMate, FlyBuySms and many more value added services which go beyond just payments to stuff like mobile shopping and gifting. The primary offerings of PayMate are : one, Payment Services where consumers can use their credit card via mobile phones for in-person and remote purchases and transactions like shop online, buy movie & airline tickets, pay bills at restaurants and retail stores, etc. Two, Gift Mate, a mobile voucher, which enables one to gift money to anyone with a mobile phone which can then be spent at over 3,000 online and offline stores.
Mobile Value Added Services
In the early years telecom revolution piggybacked on booming Indian economy, increased disposable income, proliferation of mobile devices, and reduction in call rates. The scenario has changed; Indian mobile users are very comfortable in using their phones and want to exercise option other than the basic voice applications. Today, the mobile phone has become a truly personal device and Mobile Value Added Services (MVAS) has become an extension of persona. Currently Mobile Value Added Services accounts for 10-12 percent of the operator’s revenue. Industry research on MVAS suggest that, in the next 10 years it will contribute around 60 percent of the telecom operator’s revenue. They believe innovative mobile content and applications are the only way to keep a subscriber glued to particular services. In India, the revenue from MVAS is expected to increase to USD 348.8 M in 2009, at a compound annual growth rate of more than 50 percent. The prominent players of the industry are ACL Wireless, Active Media, Air2Web, AOL Mobile, Cellebrum, Cellnext, Hungama Mobile, IMIMobile, Indiatimes Mobile, Jataayu, Mauj, Mobile365, One97, OnMobile, Phoneytunes, Roamware.
MVAS in India has grown from the early days of SMS to host of other services including wallpapers downloads, ring tones, caller ring back tones, SMS contests, and games. For better understanding of the MVAS, it can be divided into basic and advanced services.
Basic MVAS includes SMS and Mobile music. Growth of SMS traffic is a direct result of high voice traffic with SMS as it is priced substantially below call tariffs. This has led to extensive use of SMS based services by the operators, especially the reality shows. Indian Film Industry, electoral campaign, and Sports sponsors. The other prominent basic MVAS is Mobile music. It comprises ring tones, caller ring-back tones, and music clips.
Advanced MVAS include mobile TV/video, full-motion videos, wireless teleconferencing, multi-player online games, and m-commerce. These services typically require high bandwidth and a superior level of support technology. The introduction of 3G will help operatrs enhance features of SMS based IM’s, Stock Alerts, Chat Applications, Examination results, Movie Ticketing.
VALUE CHAIN
There are multiple stakeholders playing across the MVAS value chain many with overlapping roles and functions. A well demarcated value chain of MVAS is yet to evolve. The main stakeholders involved in the vas value chain are:
Content owners: At the first level of the MVAS value chain are the content owners, which develop original copyright content. There are different forms of content providers. First in the list is the original copyright content developer like music production houses – Tseries, BIG Music, SaReGaMa, Sony; bollywood production houses – Adlabs, Yash Raj and other media houses – Star, NDTV, Zee, and TV18. There are other set of players who are customized content creators for the mobile value added services. They are the companies who generate customized content for users through their own portals like Mauj, One 97, and Hungama Mobile.
Mobile operators: They provide transport and support mechanisms for delivery of mobile content. Most operators are now trying to innovate their Value Added Services offerings and create sharper differentiation for their offerings. Most of the basic content available to the end users revolves ringtones of popular bollywood songs, wallpapers of movie, and games developed around movie themes.
Technology enablers: They provide technology platforms that enable access to MVAS. They are content portals or content aggregators. These are organizations that gather web content and distribute content to suit customer needs like hungama Mobile, Indiatimes , OnMobile, Bharti Telesoft, Webaroo, etc.
Handset manufacturers: Mobile handset manufacturers also play an important role by including embedding software links in their handsets, allowing direct access to content portals, creating services customized to the need of certain regions, etc
BARRIERS TO GROWTH OF MVAS IN INDIA
In India, the VAS industry is still don’t have a proper process or common benchmark. Furthermore, the revenue sharing is a major issue. It stems from the fact that the operators charge low revenue from the end user leading to lower revenue share with MVAS. The industry has attracted many players, leading to the competition which is driving down the revenue share. Few other challenges are to show the customer value beyond mobile entertainment, establish MVAS standards, copyright protection initiatives. The challenges that need the immediate attention of key stakeholders are:
Copyright protection: In India, the regulatory framework for copyright protection continues to remain weak despite the extension of existing copyright laws to content. The MVAS industry requires a stringent regulatory framework in place, to encourage the flow of branded content to consumers. The protected MVAS content will lead to increased revenues from data services, stop customer churn and motivate MVAS provider to investment in innovative.
Low feature handsets: In India, the mobile subscriber base is growing, a large chunk of the market is opting for basic low feature handsets in spite of the fact that handset prices are coming down. According to the India Mobile Handset Usage Satisfaction Study 2006, an integrated digital camera, FM Radio, and speaker phone features remain the most likely upgrade drivers. The poor penetration of feature-rich mobile handsets is a barrier to the growth of MVAS in India.
Transparency in revenue sharing arrangements: In Indian market the biggest area of concern is the skewed revenue sharing models where the content providers have to share revenue with content aggregator and service provider. The Indian MVAS industry needs to take a close look at best practices in developed markets like China, Japan, and other European nations to design a fair revenue distribution system. There is a need to create a transparent framework with a fair system of payouts to different stakeholders across the value chain.
Focus on youth and entertainment: The MVAS market in India continues to be focused on entertainment – movies, music and sports which cater to the needs of the younger consumer segment. There is a need to focus on information VAS and transactional VAS (M-commerce), which will ensure uniform growth among all consumer segments. MVAS should create applications for niche segments, which will create real value for the subscribers.
Absence of utility services: The cost of Entertainment VAS, which has a high perceived value, is high but over a period of time as customers get used to it, the willingness to pay high amounts may come down and then MVAS will have to shift focus from Entertainment VAS to other utility services. These are the services which have a high practical value. They services mainly fall in the category of mCommerce and to some extent Infotainment. The future belongs to services providing value to the customer exploiting the mobility factor.
Lack of Infrastructure: There are a lot of services which cannot be introduced in India because of lack of supporting infrastructure. The major roadblock in providing quality content to the end user has been the availability of bandwidth. Most of the applications are not able to provide the optimum user experience due to bandwidth issue, which makes streaming and downloading practically impossible.
THE FUTURE OF MVAS IN INDIA
In years to come MVAS will see a lot of structural changes, consolidation and emergence of cutting edge services. At present biggest pie of the MVAS revenue goes to the mobile operators but in years to come they will lose prominence in the value chain. The market for Content Aggregators will consolidate and with their better bargaining power, this will ensure a revenue shift from Operators to Aggregators in the value chain. In MVAS content there will be shift from entertainment MVAS to interactive MVAS. However mobile gaming will continue to grow and will contribute a higher share to the VAS pie. The other big change is emergence of regional content. The regional content is giving a significant boost to the content market especially in the entertainment category. With all these changes the MVAS industry is about to mature.
MVAS in India has grown from the early days of SMS to host of other services including wallpapers downloads, ring tones, caller ring back tones, SMS contests, and games. For better understanding of the MVAS, it can be divided into basic and advanced services.
Basic MVAS includes SMS and Mobile music. Growth of SMS traffic is a direct result of high voice traffic with SMS as it is priced substantially below call tariffs. This has led to extensive use of SMS based services by the operators, especially the reality shows. Indian Film Industry, electoral campaign, and Sports sponsors. The other prominent basic MVAS is Mobile music. It comprises ring tones, caller ring-back tones, and music clips.
Advanced MVAS include mobile TV/video, full-motion videos, wireless teleconferencing, multi-player online games, and m-commerce. These services typically require high bandwidth and a superior level of support technology. The introduction of 3G will help operatrs enhance features of SMS based IM’s, Stock Alerts, Chat Applications, Examination results, Movie Ticketing.
VALUE CHAIN
There are multiple stakeholders playing across the MVAS value chain many with overlapping roles and functions. A well demarcated value chain of MVAS is yet to evolve. The main stakeholders involved in the vas value chain are:
Content owners: At the first level of the MVAS value chain are the content owners, which develop original copyright content. There are different forms of content providers. First in the list is the original copyright content developer like music production houses – Tseries, BIG Music, SaReGaMa, Sony; bollywood production houses – Adlabs, Yash Raj and other media houses – Star, NDTV, Zee, and TV18. There are other set of players who are customized content creators for the mobile value added services. They are the companies who generate customized content for users through their own portals like Mauj, One 97, and Hungama Mobile.
Mobile operators: They provide transport and support mechanisms for delivery of mobile content. Most operators are now trying to innovate their Value Added Services offerings and create sharper differentiation for their offerings. Most of the basic content available to the end users revolves ringtones of popular bollywood songs, wallpapers of movie, and games developed around movie themes.
Technology enablers: They provide technology platforms that enable access to MVAS. They are content portals or content aggregators. These are organizations that gather web content and distribute content to suit customer needs like hungama Mobile, Indiatimes , OnMobile, Bharti Telesoft, Webaroo, etc.
Handset manufacturers: Mobile handset manufacturers also play an important role by including embedding software links in their handsets, allowing direct access to content portals, creating services customized to the need of certain regions, etc
BARRIERS TO GROWTH OF MVAS IN INDIA
In India, the VAS industry is still don’t have a proper process or common benchmark. Furthermore, the revenue sharing is a major issue. It stems from the fact that the operators charge low revenue from the end user leading to lower revenue share with MVAS. The industry has attracted many players, leading to the competition which is driving down the revenue share. Few other challenges are to show the customer value beyond mobile entertainment, establish MVAS standards, copyright protection initiatives. The challenges that need the immediate attention of key stakeholders are:
Copyright protection: In India, the regulatory framework for copyright protection continues to remain weak despite the extension of existing copyright laws to content. The MVAS industry requires a stringent regulatory framework in place, to encourage the flow of branded content to consumers. The protected MVAS content will lead to increased revenues from data services, stop customer churn and motivate MVAS provider to investment in innovative.
Low feature handsets: In India, the mobile subscriber base is growing, a large chunk of the market is opting for basic low feature handsets in spite of the fact that handset prices are coming down. According to the India Mobile Handset Usage Satisfaction Study 2006, an integrated digital camera, FM Radio, and speaker phone features remain the most likely upgrade drivers. The poor penetration of feature-rich mobile handsets is a barrier to the growth of MVAS in India.
Transparency in revenue sharing arrangements: In Indian market the biggest area of concern is the skewed revenue sharing models where the content providers have to share revenue with content aggregator and service provider. The Indian MVAS industry needs to take a close look at best practices in developed markets like China, Japan, and other European nations to design a fair revenue distribution system. There is a need to create a transparent framework with a fair system of payouts to different stakeholders across the value chain.
Focus on youth and entertainment: The MVAS market in India continues to be focused on entertainment – movies, music and sports which cater to the needs of the younger consumer segment. There is a need to focus on information VAS and transactional VAS (M-commerce), which will ensure uniform growth among all consumer segments. MVAS should create applications for niche segments, which will create real value for the subscribers.
Absence of utility services: The cost of Entertainment VAS, which has a high perceived value, is high but over a period of time as customers get used to it, the willingness to pay high amounts may come down and then MVAS will have to shift focus from Entertainment VAS to other utility services. These are the services which have a high practical value. They services mainly fall in the category of mCommerce and to some extent Infotainment. The future belongs to services providing value to the customer exploiting the mobility factor.
Lack of Infrastructure: There are a lot of services which cannot be introduced in India because of lack of supporting infrastructure. The major roadblock in providing quality content to the end user has been the availability of bandwidth. Most of the applications are not able to provide the optimum user experience due to bandwidth issue, which makes streaming and downloading practically impossible.
THE FUTURE OF MVAS IN INDIA
In years to come MVAS will see a lot of structural changes, consolidation and emergence of cutting edge services. At present biggest pie of the MVAS revenue goes to the mobile operators but in years to come they will lose prominence in the value chain. The market for Content Aggregators will consolidate and with their better bargaining power, this will ensure a revenue shift from Operators to Aggregators in the value chain. In MVAS content there will be shift from entertainment MVAS to interactive MVAS. However mobile gaming will continue to grow and will contribute a higher share to the VAS pie. The other big change is emergence of regional content. The regional content is giving a significant boost to the content market especially in the entertainment category. With all these changes the MVAS industry is about to mature.
Bollywood
The beginning of journey
July 7 1896, the Lumiere Brothers’ Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay. This was the first rendezvou of celluloid in camera with the Indian audience. It was followed by Harishchandra Bhatvadekar two short films exhibition in 1899. The other vetran film makers of the time were – Hiralal Sen, F.B. Thanawalla, J.F. Madan, Abdullah Esoofally, N.G. Chitre and R.G. Torney. May 18, 1912 the film maker N.G. Chitre and R.G. Torney released a silent feature film Pundalik which was half British in its make.
Dhundiraj Govind Phalke (Dada Saheb Phalke) produced India’s first fully indigenous silent feature film Raja Harishchandra with titles in Hindi and English. The film was realeased on May 3 1913 at the Coronation Cinema, Bombay. The twenties witnessed emergence of many new companies and film makers viz. Dhiren Ganguly, Baburao Painter, Suchet Singh, Chandulal Shah, Ardershir Israni, and V. Santharam.
Bollywood got the voice
The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani. Alam Ara was released on March 14, 1931 at the Majestic Cinema in Bombay. The year 1931 also marked the beginning of the talking ear in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass). The thirties also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja) in 1932, Gujarathi (Narasinh Mehta) in 1932, Kannada (Dhurvkumar) in 1934, Oriya (Sita Bibaha) in 1934, Assamese (Joymati) in 1935, Punjabi (Sheila) in 1935, and Malayalam (Balan) in 1938. in 1937 Ardeshir Irani attempted colour picture Kisan Kanya bur color picture became reality only in sixties.
In the 30’s three major film centres developed which were based in Bombay (Mumbai), Calcutta (Kolkata) and Madras (Chennai). Of these centres, Bombay became the centre of the Hindi-Urdu film, while the other cinemas began to be regarded as local or regional films. The thirties also witnessed emergence of three big banners – Prabhat, Bombay Talkies, and New Theatres. These theaters took the lead in making serious but entertaining films. The studio system thrived in Bombay until the late 40s. The independent producer, identified potential of the star as the critical box-office factor, and began to chase them for their movies. The stars also realized their value and hiked their prices to unheard of levels. The changed trend continued to the present Indian film industry.
The fourties saw the emergence of the ‘playback singing’. With emergence of playback singing music became an important ingredient in Indian cinema. The playback singers like Lata Mangeshkar, Asha Bhonsle, Muhammed Rafi, Kishore Kumar dominated the Hindi film industry for decades. This was the historic decade for cinematography all over India. Some memorable films were produced during the forties such as Shantharam’s Dr. Kotnis Ki Amar Kahani, Mehboob’s Roti, Chetan Anand’s Neecha Nagar, Uday Shanker’s Kalpana, Abbas’s Dharti Ke Lal, Sohrab Modi’s Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia’s Court Dancer, S.S. Vasan’s Chandralekha, Vijay Bhatt’s Bharat Milap and Ram Rajya, Rajkapoor’s Barsaat and Aag.
Shaheed (1948), Barsaat (1949), Mahal (1949), Andaz (1949), Kismet (1943), Sikander (1941), Pukar (1939), Achut Kanya ( 1936), Devdas (1935), Toofan Mail (1934), Alam Ara (1931).
Golden Age of Bollywood
The fifties was the era of neorealism, which was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Devadas and Madhumati, Rajkapoor’s Boot Polish, Shri-420 and Jagte Raho, V. Shantharam’s Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood’s Mother India. The importance of 1950s in history of bollywood can’t be ignored. This was the dacade of growth and recognition. The first International Film Festival of India held in early 1952 at Bombay which was followed by the Satyajit Ray’s classic Pather Panchali in 1955. The Pather Panchali bagged the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. The decade also witnessed transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. In 1959, Guru Dutt makes India’s first cinemascope film, Kaagaz Ke Phool. The transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry.
The sixties began with a bang with the release of K. Asif’s Mughal-E-Azam which set a record at the box-office. It was followed by notable productions which include romantic musical and melodramas of a better quality. But over all the sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The 50s and 60s are regarded as the “Golden Age” of Indian cinema, in terms of films, stars, music and lyrics. This era saw the emergence of director/producers such as Raj Kapoor, Guru Dutt, Mehboob Khan, BR Chopra and Bimal Roy; great actors like Dilip Kumar, Raj Kapoor and Dev Anand – the holy trinity; and film musicians like Shanker-Jaikishen, Naushad, S D Burman. During the same time a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji, Rajinder Singh Bedi, Mani Kaul, Kumar Shahani, Avtar Kaul, Basu Bhattacharya, M.S. Sathyu, Shyam Benegal, and Kanthilal Rathod. In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. Among actors Rajesh Khanna becomes new boxoffice god with Aradhana.
Aradhana (1969), Do Raaste (1969), Khamoshi (1969), Padosan (1968), Ram Aur Shyam (1967), An Evening in Paris (1967), Jewel Thief (1967), Farz (1967), Upkar (1967), Teesri Manzil (1966), Mera Saaya (1966), Waqt (1965), Guide (1965), Jab Jab Phool Khile (1965), Sangam (1964), Haqeeqat (1964), Bandini (1963), Sahib Bibi Aur Ghulam (1962), Ganga Jamuna (1961), Junglee (1961), Kanoon (1960), Mughal-e-Azam (1960), Sujata (1959), Kaagaz Ke Phool (1959), Madhumati (1958), Chalti Ka Naam Gaadi (1958), Pyaasa (1957), Do Aankhen Barah Haath (1957), Mother India (1957), Chori Chori (1956), Jagte Raho (1956), Kabuliwalla (1956), C.I.D. (1956), Devdas (1955, Jhanak Jhanak Payal Baaje (1955), Shree 420 (1955), Aar Paar (1954), Do Bigha Zameen (1953) Aan (1952), Baazi (1951), Awaara (1951)
Next three Decades
The seventies started with Pakeezah – a cult classic. Indian film industry, during the decade, got sponsorship from government which allowed Indian parallel cinema to gain strenghth. This gifted Indian film industry a few finest actors of all time viz. Shabana Azmi, Smita Patil, Om Puri, Naseerudin Shah. The new wave cinema seems to have reached its peak towards the end of the seventies with film makers like Govind Nihalani, Saeed Mirza, Rabindra Dharmaraj, Sai Paranjpe, Muzafar Ali, and Biplab Roy. The decade also saw the rise of India’s greatest superstar, Amitabh Bachchan – the angry young man. The majority of the films of the decade were action oriented with revenge as the dominating theme.
The eighties belong to working-class audiences, mostly to male audiences. The decade saw largely action movie, disco dancing, and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance. The 80s and 90s also belongs to new generation of younger stars – Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan – who dominated the bollywood.
The emergence of colour television, videocassettes, and penetration of audiocassette in the 1980s changed the landscape of the bollywood. The audience during this decade mostly preferred watching movies at home. The trend changed once again in the ninties, which saw return of threaters, despite popularity of satellite and cable television. The family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls.
A new wave of film makers from South Indian studios began to release dubbed versions of their films. These films were major commercial successes in the north. At the forefront of these was Mani Ratnam’s Bombay. By the end of the 1990s it was clear that the only films which could compete with Hollywood at home and abroad will survive.
The decade saw emergence of the Shah Rukh Khan who revolutionises negative hero in Baazigar and Darr. He once again sets the trend of urbane, feelsmart movies with Dilwale Dulhaniya Le Jayenge. The decade also discovered a new teenage heart-throb – Hrithik Roshan.
Sargam (1979), Gol Maal (1979), Don (1978), Trishul (1978), Muqaddar Ka Sikandar (1978), Satyam Shivam Sundaram (1978), Dharam Veer (1977), Hum Kisi Se Kum Nahin (1977), Amar Akbar Anthony (1977), Shatranj Ke Khiladi (1977), Kabhi Kabhi (1976), Chitchor (1976), Julie (1975), Chupke Chupke (1975), Aandhi (1975), Sholay (1975), Jai Santoshi Maa (1975), Deewaar (1975), Roti Kapda Aur Makaan (1974), Garam Hawa (1973), Yaadon Ki Baraat (1973), Abhimaan (1973), Zanjeer (1973), Bobby (1973), Jugnu (1973), Shor (1972), Seeta Aur Geeta (1972), Pakeezah (1972), Caravan (1972), Hare Rama Hare Krishna (1971), Kati Patang (1971), Anand (1971), Guddi (1971), Mera Gaon Mera Desh (1971), Purab Aur Paschim (1971), Sachaa Jhutha (1970), Mera Naam Joker (1970), Maine Pyar Kiya (1989), Chandni (1989), Parinda (1989), Qayamat Se Qayamat Tak (1988), Salaam Bombay (1988), Mr. India (1987), Naam (1986), Ram Teri Ganga Maili (1985), Saagar (1985), Betaab (1983), Hero (1983), Masoom (1983), Jaane Bhi Do Yaaron (1983), Woh Saat Din (1983), Nikaah (1982), Prem Rog (1982), Satte Pe Satta (1982), Arth (1982), Ek Duuje Ke Liye (1981), Kalyug (1980 film) (1981), Kranti (1981), Naseeb (1981), Umrao Jaan (1981), Qurbani (1980), Biwi No.1 (1999), Hum Dil De Chuke Sanam (1999), Kuch Kuch Hota Hai (1998), Soldier (1998), Border (1997), Dil To Pagal Hai (1997), Gupt (1997), Pardes (1997), Raja Hindustani (1996), Khiladiyon Ka Khiladi (1996), Rangeela (1995), Dilwale Dulhaniya Le Jayenge (1995), Karan Arjun (1995), Coolie No. 1 (1995), Mohra (1994), Hum Aapke Hain Koun (1994), Hum Hain Rahi Pyar Ke (1993), Aankhen (1993), Jo Jeeta Wohi Sikander (1991), Aaj Ka Arjun (1990), Aashiqui (1990), Dil (1990), Ghayal (1990). Taal (1999), Sarfarosh (1999), Dil Se (1998), Hyderabad Blues (1998), Virasat (1997), Maachis (1996), Khamoshi: The Musical (1996), Bombay (1995), 1942 A Love Story (1994), Roja (1992), Prahaar (1991).
The Indian film Industry
The unorganized Indian film industry got industry status in 2001, which helped it grow faster. The growth in this decade is fueled by the more professionally approach in financing, production and other allied activities. It helped the new age film makers produce films like Dil Chahta Hai, Dhoom, Black, Bunty aur Babli, Rang De Basanti. Some of the largest production houses like Adlabs, UTV Movies, Yash Raj Films, Dharma Productions were the producers of these new modern films which touched new heights in terms of quality cinematography, innovative story lines, and technical quality advances. Moreover the hunger for cinema amongst the expatriate Indians encouraged film producers and distributors to produce and distribute films for them. Consequently, there have been a series of films like Mississippi Masala, Salaam Bombay, Monsoon Wedding, and The Guru. Few of these films did very well internationally and helped Indian cinema connect globally. It not only attracted global audiences but also global film makers, distributors, exhibitors.
The current practice of movie making in India viz. contractual relation, industry regulations, piracy and copy right laws is distinctly different from the global norms. In current scenario it becomes important for the Indian film industry to upgrade their regulations matching the global norms.
Race (2008), Jodhaa Akbar (2008), Om Shanti Om(2007), Welcome (2007), Chak De India(2007), Partner (2007), Bhool Bhulaiyaa(2007), Heyy Babyy (2007), Taare Zameen Par (2007), Guru(2007), Life In A… Metro (2007), Gandhi, My Father(2007), Johnny Gaddaar (2007), Eklavya (2007), Dhoom 2(2006), Lage Raho Munna Bhai(2006), Krrish (2006),Fanaa (2006), Rang De Basanti (2006), Don (2006), Kabhi Alvida Naa Kehna (2006), Vivah(2006), Dor (2006), Corporate (2006),Omkara (2006), Khosla Ka Ghosla (2006), Bunty Aur Babli(2005), Salaam Namaste (2005), Black (2005), Iqbal (2005), Parineeta(2005), Sarkar (2005), Veer-Zaara(2004), Main Hoon Na(2004), Mujhse Shaadi Karogi(2004), Dhoom(2004), Murder(2004), Yuva(2004), Lakshya(2004), Dev (2004), Swades (2004), Phir Milenge (2004),Koi… Mil Gaya(2003), Kal Ho Naa Ho(2003), Baghban(2003),Munnabhai M.B.B.S. (2003), Andaaz(2003), Pinjar(2003), Devdas(2002), Raaz(2002), Kaante (2002), Aankhen(2002), Saathiya(2002), Company (2002), Gadar(2001), Kabhi Khushi Kabhie Gham(2001), Lagaan(2001), Chandni Bar(2001), Dil Chahta Hai (2001), Kaho Naa… Pyaar Hai(2000), Mohabbatein(2000), Mission Kashmir(2000), Kya Kehna(2000), Hera Pheri (2000), Astitva (2000), Fiza(2000),
July 7 1896, the Lumiere Brothers’ Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay. This was the first rendezvou of celluloid in camera with the Indian audience. It was followed by Harishchandra Bhatvadekar two short films exhibition in 1899. The other vetran film makers of the time were – Hiralal Sen, F.B. Thanawalla, J.F. Madan, Abdullah Esoofally, N.G. Chitre and R.G. Torney. May 18, 1912 the film maker N.G. Chitre and R.G. Torney released a silent feature film Pundalik which was half British in its make.
Dhundiraj Govind Phalke (Dada Saheb Phalke) produced India’s first fully indigenous silent feature film Raja Harishchandra with titles in Hindi and English. The film was realeased on May 3 1913 at the Coronation Cinema, Bombay. The twenties witnessed emergence of many new companies and film makers viz. Dhiren Ganguly, Baburao Painter, Suchet Singh, Chandulal Shah, Ardershir Israni, and V. Santharam.
Bollywood got the voice
The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani. Alam Ara was released on March 14, 1931 at the Majestic Cinema in Bombay. The year 1931 also marked the beginning of the talking ear in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass). The thirties also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja) in 1932, Gujarathi (Narasinh Mehta) in 1932, Kannada (Dhurvkumar) in 1934, Oriya (Sita Bibaha) in 1934, Assamese (Joymati) in 1935, Punjabi (Sheila) in 1935, and Malayalam (Balan) in 1938. in 1937 Ardeshir Irani attempted colour picture Kisan Kanya bur color picture became reality only in sixties.
In the 30’s three major film centres developed which were based in Bombay (Mumbai), Calcutta (Kolkata) and Madras (Chennai). Of these centres, Bombay became the centre of the Hindi-Urdu film, while the other cinemas began to be regarded as local or regional films. The thirties also witnessed emergence of three big banners – Prabhat, Bombay Talkies, and New Theatres. These theaters took the lead in making serious but entertaining films. The studio system thrived in Bombay until the late 40s. The independent producer, identified potential of the star as the critical box-office factor, and began to chase them for their movies. The stars also realized their value and hiked their prices to unheard of levels. The changed trend continued to the present Indian film industry.
The fourties saw the emergence of the ‘playback singing’. With emergence of playback singing music became an important ingredient in Indian cinema. The playback singers like Lata Mangeshkar, Asha Bhonsle, Muhammed Rafi, Kishore Kumar dominated the Hindi film industry for decades. This was the historic decade for cinematography all over India. Some memorable films were produced during the forties such as Shantharam’s Dr. Kotnis Ki Amar Kahani, Mehboob’s Roti, Chetan Anand’s Neecha Nagar, Uday Shanker’s Kalpana, Abbas’s Dharti Ke Lal, Sohrab Modi’s Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia’s Court Dancer, S.S. Vasan’s Chandralekha, Vijay Bhatt’s Bharat Milap and Ram Rajya, Rajkapoor’s Barsaat and Aag.
Shaheed (1948), Barsaat (1949), Mahal (1949), Andaz (1949), Kismet (1943), Sikander (1941), Pukar (1939), Achut Kanya ( 1936), Devdas (1935), Toofan Mail (1934), Alam Ara (1931).
Golden Age of Bollywood
The fifties was the era of neorealism, which was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Devadas and Madhumati, Rajkapoor’s Boot Polish, Shri-420 and Jagte Raho, V. Shantharam’s Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood’s Mother India. The importance of 1950s in history of bollywood can’t be ignored. This was the dacade of growth and recognition. The first International Film Festival of India held in early 1952 at Bombay which was followed by the Satyajit Ray’s classic Pather Panchali in 1955. The Pather Panchali bagged the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. The decade also witnessed transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. In 1959, Guru Dutt makes India’s first cinemascope film, Kaagaz Ke Phool. The transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry.
The sixties began with a bang with the release of K. Asif’s Mughal-E-Azam which set a record at the box-office. It was followed by notable productions which include romantic musical and melodramas of a better quality. But over all the sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The 50s and 60s are regarded as the “Golden Age” of Indian cinema, in terms of films, stars, music and lyrics. This era saw the emergence of director/producers such as Raj Kapoor, Guru Dutt, Mehboob Khan, BR Chopra and Bimal Roy; great actors like Dilip Kumar, Raj Kapoor and Dev Anand – the holy trinity; and film musicians like Shanker-Jaikishen, Naushad, S D Burman. During the same time a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji, Rajinder Singh Bedi, Mani Kaul, Kumar Shahani, Avtar Kaul, Basu Bhattacharya, M.S. Sathyu, Shyam Benegal, and Kanthilal Rathod. In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. Among actors Rajesh Khanna becomes new boxoffice god with Aradhana.
Aradhana (1969), Do Raaste (1969), Khamoshi (1969), Padosan (1968), Ram Aur Shyam (1967), An Evening in Paris (1967), Jewel Thief (1967), Farz (1967), Upkar (1967), Teesri Manzil (1966), Mera Saaya (1966), Waqt (1965), Guide (1965), Jab Jab Phool Khile (1965), Sangam (1964), Haqeeqat (1964), Bandini (1963), Sahib Bibi Aur Ghulam (1962), Ganga Jamuna (1961), Junglee (1961), Kanoon (1960), Mughal-e-Azam (1960), Sujata (1959), Kaagaz Ke Phool (1959), Madhumati (1958), Chalti Ka Naam Gaadi (1958), Pyaasa (1957), Do Aankhen Barah Haath (1957), Mother India (1957), Chori Chori (1956), Jagte Raho (1956), Kabuliwalla (1956), C.I.D. (1956), Devdas (1955, Jhanak Jhanak Payal Baaje (1955), Shree 420 (1955), Aar Paar (1954), Do Bigha Zameen (1953) Aan (1952), Baazi (1951), Awaara (1951)
Next three Decades
The seventies started with Pakeezah – a cult classic. Indian film industry, during the decade, got sponsorship from government which allowed Indian parallel cinema to gain strenghth. This gifted Indian film industry a few finest actors of all time viz. Shabana Azmi, Smita Patil, Om Puri, Naseerudin Shah. The new wave cinema seems to have reached its peak towards the end of the seventies with film makers like Govind Nihalani, Saeed Mirza, Rabindra Dharmaraj, Sai Paranjpe, Muzafar Ali, and Biplab Roy. The decade also saw the rise of India’s greatest superstar, Amitabh Bachchan – the angry young man. The majority of the films of the decade were action oriented with revenge as the dominating theme.
The eighties belong to working-class audiences, mostly to male audiences. The decade saw largely action movie, disco dancing, and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance. The 80s and 90s also belongs to new generation of younger stars – Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan – who dominated the bollywood.
The emergence of colour television, videocassettes, and penetration of audiocassette in the 1980s changed the landscape of the bollywood. The audience during this decade mostly preferred watching movies at home. The trend changed once again in the ninties, which saw return of threaters, despite popularity of satellite and cable television. The family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls.
A new wave of film makers from South Indian studios began to release dubbed versions of their films. These films were major commercial successes in the north. At the forefront of these was Mani Ratnam’s Bombay. By the end of the 1990s it was clear that the only films which could compete with Hollywood at home and abroad will survive.
The decade saw emergence of the Shah Rukh Khan who revolutionises negative hero in Baazigar and Darr. He once again sets the trend of urbane, feelsmart movies with Dilwale Dulhaniya Le Jayenge. The decade also discovered a new teenage heart-throb – Hrithik Roshan.
Sargam (1979), Gol Maal (1979), Don (1978), Trishul (1978), Muqaddar Ka Sikandar (1978), Satyam Shivam Sundaram (1978), Dharam Veer (1977), Hum Kisi Se Kum Nahin (1977), Amar Akbar Anthony (1977), Shatranj Ke Khiladi (1977), Kabhi Kabhi (1976), Chitchor (1976), Julie (1975), Chupke Chupke (1975), Aandhi (1975), Sholay (1975), Jai Santoshi Maa (1975), Deewaar (1975), Roti Kapda Aur Makaan (1974), Garam Hawa (1973), Yaadon Ki Baraat (1973), Abhimaan (1973), Zanjeer (1973), Bobby (1973), Jugnu (1973), Shor (1972), Seeta Aur Geeta (1972), Pakeezah (1972), Caravan (1972), Hare Rama Hare Krishna (1971), Kati Patang (1971), Anand (1971), Guddi (1971), Mera Gaon Mera Desh (1971), Purab Aur Paschim (1971), Sachaa Jhutha (1970), Mera Naam Joker (1970), Maine Pyar Kiya (1989), Chandni (1989), Parinda (1989), Qayamat Se Qayamat Tak (1988), Salaam Bombay (1988), Mr. India (1987), Naam (1986), Ram Teri Ganga Maili (1985), Saagar (1985), Betaab (1983), Hero (1983), Masoom (1983), Jaane Bhi Do Yaaron (1983), Woh Saat Din (1983), Nikaah (1982), Prem Rog (1982), Satte Pe Satta (1982), Arth (1982), Ek Duuje Ke Liye (1981), Kalyug (1980 film) (1981), Kranti (1981), Naseeb (1981), Umrao Jaan (1981), Qurbani (1980), Biwi No.1 (1999), Hum Dil De Chuke Sanam (1999), Kuch Kuch Hota Hai (1998), Soldier (1998), Border (1997), Dil To Pagal Hai (1997), Gupt (1997), Pardes (1997), Raja Hindustani (1996), Khiladiyon Ka Khiladi (1996), Rangeela (1995), Dilwale Dulhaniya Le Jayenge (1995), Karan Arjun (1995), Coolie No. 1 (1995), Mohra (1994), Hum Aapke Hain Koun (1994), Hum Hain Rahi Pyar Ke (1993), Aankhen (1993), Jo Jeeta Wohi Sikander (1991), Aaj Ka Arjun (1990), Aashiqui (1990), Dil (1990), Ghayal (1990). Taal (1999), Sarfarosh (1999), Dil Se (1998), Hyderabad Blues (1998), Virasat (1997), Maachis (1996), Khamoshi: The Musical (1996), Bombay (1995), 1942 A Love Story (1994), Roja (1992), Prahaar (1991).
The Indian film Industry
The unorganized Indian film industry got industry status in 2001, which helped it grow faster. The growth in this decade is fueled by the more professionally approach in financing, production and other allied activities. It helped the new age film makers produce films like Dil Chahta Hai, Dhoom, Black, Bunty aur Babli, Rang De Basanti. Some of the largest production houses like Adlabs, UTV Movies, Yash Raj Films, Dharma Productions were the producers of these new modern films which touched new heights in terms of quality cinematography, innovative story lines, and technical quality advances. Moreover the hunger for cinema amongst the expatriate Indians encouraged film producers and distributors to produce and distribute films for them. Consequently, there have been a series of films like Mississippi Masala, Salaam Bombay, Monsoon Wedding, and The Guru. Few of these films did very well internationally and helped Indian cinema connect globally. It not only attracted global audiences but also global film makers, distributors, exhibitors.
The current practice of movie making in India viz. contractual relation, industry regulations, piracy and copy right laws is distinctly different from the global norms. In current scenario it becomes important for the Indian film industry to upgrade their regulations matching the global norms.
Race (2008), Jodhaa Akbar (2008), Om Shanti Om(2007), Welcome (2007), Chak De India(2007), Partner (2007), Bhool Bhulaiyaa(2007), Heyy Babyy (2007), Taare Zameen Par (2007), Guru(2007), Life In A… Metro (2007), Gandhi, My Father(2007), Johnny Gaddaar (2007), Eklavya (2007), Dhoom 2(2006), Lage Raho Munna Bhai(2006), Krrish (2006),Fanaa (2006), Rang De Basanti (2006), Don (2006), Kabhi Alvida Naa Kehna (2006), Vivah(2006), Dor (2006), Corporate (2006),Omkara (2006), Khosla Ka Ghosla (2006), Bunty Aur Babli(2005), Salaam Namaste (2005), Black (2005), Iqbal (2005), Parineeta(2005), Sarkar (2005), Veer-Zaara(2004), Main Hoon Na(2004), Mujhse Shaadi Karogi(2004), Dhoom(2004), Murder(2004), Yuva(2004), Lakshya(2004), Dev (2004), Swades (2004), Phir Milenge (2004),Koi… Mil Gaya(2003), Kal Ho Naa Ho(2003), Baghban(2003),Munnabhai M.B.B.S. (2003), Andaaz(2003), Pinjar(2003), Devdas(2002), Raaz(2002), Kaante (2002), Aankhen(2002), Saathiya(2002), Company (2002), Gadar(2001), Kabhi Khushi Kabhie Gham(2001), Lagaan(2001), Chandni Bar(2001), Dil Chahta Hai (2001), Kaho Naa… Pyaar Hai(2000), Mohabbatein(2000), Mission Kashmir(2000), Kya Kehna(2000), Hera Pheri (2000), Astitva (2000), Fiza(2000),
Bollywood
The beginning of journey
July 7 1896, the Lumiere Brothers’ Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay. This was the first rendezvou of celluloid in camera with the Indian audience. It was followed by Harishchandra Bhatvadekar two short films exhibition in 1899. The other vetran film makers of the time were – Hiralal Sen, F.B. Thanawalla, J.F. Madan, Abdullah Esoofally, N.G. Chitre and R.G. Torney. May 18, 1912 the film maker N.G. Chitre and R.G. Torney released a silent feature film Pundalik which was half British in its make.
Dhundiraj Govind Phalke (Dada Saheb Phalke) produced India’s first fully indigenous silent feature film Raja Harishchandra with titles in Hindi and English. The film was realeased on May 3 1913 at the Coronation Cinema, Bombay. The twenties witnessed emergence of many new companies and film makers viz. Dhiren Ganguly, Baburao Painter, Suchet Singh, Chandulal Shah, Ardershir Israni, and V. Santharam.
Bollywood got the voice
The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani. Alam Ara was released on March 14, 1931 at the Majestic Cinema in Bombay. The year 1931 also marked the beginning of the talking ear in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass). The thirties also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja) in 1932, Gujarathi (Narasinh Mehta) in 1932, Kannada (Dhurvkumar) in 1934, Oriya (Sita Bibaha) in 1934, Assamese (Joymati) in 1935, Punjabi (Sheila) in 1935, and Malayalam (Balan) in 1938. in 1937 Ardeshir Irani attempted colour picture Kisan Kanya bur color picture became reality only in sixties.
In the 30’s three major film centres developed which were based in Bombay (Mumbai), Calcutta (Kolkata) and Madras (Chennai). Of these centres, Bombay became the centre of the Hindi-Urdu film, while the other cinemas began to be regarded as local or regional films. The thirties also witnessed emergence of three big banners – Prabhat, Bombay Talkies, and New Theatres. These theaters took the lead in making serious but entertaining films. The studio system thrived in Bombay until the late 40s. The independent producer, identified potential of the star as the critical box-office factor, and began to chase them for their movies. The stars also realized their value and hiked their prices to unheard of levels. The changed trend continued to the present Indian film industry.
The fourties saw the emergence of the ‘playback singing’. With emergence of playback singing music became an important ingredient in Indian cinema. The playback singers like Lata Mangeshkar, Asha Bhonsle, Muhammed Rafi, Kishore Kumar dominated the Hindi film industry for decades. This was the historic decade for cinematography all over India. Some memorable films were produced during the forties such as Shantharam’s Dr. Kotnis Ki Amar Kahani, Mehboob’s Roti, Chetan Anand’s Neecha Nagar, Uday Shanker’s Kalpana, Abbas’s Dharti Ke Lal, Sohrab Modi’s Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia’s Court Dancer, S.S. Vasan’s Chandralekha, Vijay Bhatt’s Bharat Milap and Ram Rajya, Rajkapoor’s Barsaat and Aag.
Shaheed (1948), Barsaat (1949), Mahal (1949), Andaz (1949), Kismet (1943), Sikander (1941), Pukar (1939), Achut Kanya ( 1936), Devdas (1935), Toofan Mail (1934), Alam Ara (1931).
Golden Age of Bollywood
The fifties was the era of neorealism, which was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Devadas and Madhumati, Rajkapoor’s Boot Polish, Shri-420 and Jagte Raho, V. Shantharam’s Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood’s Mother India. The importance of 1950s in history of bollywood can’t be ignored. This was the dacade of growth and recognition. The first International Film Festival of India held in early 1952 at Bombay which was followed by the Satyajit Ray’s classic Pather Panchali in 1955. The Pather Panchali bagged the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. The decade also witnessed transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. In 1959, Guru Dutt makes India’s first cinemascope film, Kaagaz Ke Phool. The transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry.
The sixties began with a bang with the release of K. Asif’s Mughal-E-Azam which set a record at the box-office. It was followed by notable productions which include romantic musical and melodramas of a better quality. But over all the sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The 50s and 60s are regarded as the “Golden Age” of Indian cinema, in terms of films, stars, music and lyrics. This era saw the emergence of director/producers such as Raj Kapoor, Guru Dutt, Mehboob Khan, BR Chopra and Bimal Roy; great actors like Dilip Kumar, Raj Kapoor and Dev Anand – the holy trinity; and film musicians like Shanker-Jaikishen, Naushad, S D Burman. During the same time a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji, Rajinder Singh Bedi, Mani Kaul, Kumar Shahani, Avtar Kaul, Basu Bhattacharya, M.S. Sathyu, Shyam Benegal, and Kanthilal Rathod. In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. Among actors Rajesh Khanna becomes new boxoffice god with Aradhana.
Aradhana (1969), Do Raaste (1969), Khamoshi (1969), Padosan (1968), Ram Aur Shyam (1967), An Evening in Paris (1967), Jewel Thief (1967), Farz (1967), Upkar (1967), Teesri Manzil (1966), Mera Saaya (1966), Waqt (1965), Guide (1965), Jab Jab Phool Khile (1965), Sangam (1964), Haqeeqat (1964), Bandini (1963), Sahib Bibi Aur Ghulam (1962), Ganga Jamuna (1961), Junglee (1961), Kanoon (1960), Mughal-e-Azam (1960), Sujata (1959), Kaagaz Ke Phool (1959), Madhumati (1958), Chalti Ka Naam Gaadi (1958), Pyaasa (1957), Do Aankhen Barah Haath (1957), Mother India (1957), Chori Chori (1956), Jagte Raho (1956), Kabuliwalla (1956), C.I.D. (1956), Devdas (1955, Jhanak Jhanak Payal Baaje (1955), Shree 420 (1955), Aar Paar (1954), Do Bigha Zameen (1953) Aan (1952), Baazi (1951), Awaara (1951)
Next three Decades
The seventies started with Pakeezah – a cult classic. Indian film industry, during the decade, got sponsorship from government which allowed Indian parallel cinema to gain strenghth. This gifted Indian film industry a few finest actors of all time viz. Shabana Azmi, Smita Patil, Om Puri, Naseerudin Shah. The new wave cinema seems to have reached its peak towards the end of the seventies with film makers like Govind Nihalani, Saeed Mirza, Rabindra Dharmaraj, Sai Paranjpe, Muzafar Ali, and Biplab Roy. The decade also saw the rise of India’s greatest superstar, Amitabh Bachchan – the angry young man. The majority of the films of the decade were action oriented with revenge as the dominating theme.
The eighties belong to working-class audiences, mostly to male audiences. The decade saw largely action movie, disco dancing, and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance. The 80s and 90s also belongs to new generation of younger stars – Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan – who dominated the bollywood.
The emergence of colour television, videocassettes, and penetration of audiocassette in the 1980s changed the landscape of the bollywood. The audience during this decade mostly preferred watching movies at home. The trend changed once again in the ninties, which saw return of threaters, despite popularity of satellite and cable television. The family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls.
A new wave of film makers from South Indian studios began to release dubbed versions of their films. These films were major commercial successes in the north. At the forefront of these was Mani Ratnam’s Bombay. By the end of the 1990s it was clear that the only films which could compete with Hollywood at home and abroad will survive.
The decade saw emergence of the Shah Rukh Khan who revolutionises negative hero in Baazigar and Darr. He once again sets the trend of urbane, feelsmart movies with Dilwale Dulhaniya Le Jayenge. The decade also discovered a new teenage heart-throb – Hrithik Roshan.
Sargam (1979), Gol Maal (1979), Don (1978), Trishul (1978), Muqaddar Ka Sikandar (1978), Satyam Shivam Sundaram (1978), Dharam Veer (1977), Hum Kisi Se Kum Nahin (1977), Amar Akbar Anthony (1977), Shatranj Ke Khiladi (1977), Kabhi Kabhi (1976), Chitchor (1976), Julie (1975), Chupke Chupke (1975), Aandhi (1975), Sholay (1975), Jai Santoshi Maa (1975), Deewaar (1975), Roti Kapda Aur Makaan (1974), Garam Hawa (1973), Yaadon Ki Baraat (1973), Abhimaan (1973), Zanjeer (1973), Bobby (1973), Jugnu (1973), Shor (1972), Seeta Aur Geeta (1972), Pakeezah (1972), Caravan (1972), Hare Rama Hare Krishna (1971), Kati Patang (1971), Anand (1971), Guddi (1971), Mera Gaon Mera Desh (1971), Purab Aur Paschim (1971), Sachaa Jhutha (1970), Mera Naam Joker (1970), Maine Pyar Kiya (1989), Chandni (1989), Parinda (1989), Qayamat Se Qayamat Tak (1988), Salaam Bombay (1988), Mr. India (1987), Naam (1986), Ram Teri Ganga Maili (1985), Saagar (1985), Betaab (1983), Hero (1983), Masoom (1983), Jaane Bhi Do Yaaron (1983), Woh Saat Din (1983), Nikaah (1982), Prem Rog (1982), Satte Pe Satta (1982), Arth (1982), Ek Duuje Ke Liye (1981), Kalyug (1980 film) (1981), Kranti (1981), Naseeb (1981), Umrao Jaan (1981), Qurbani (1980), Biwi No.1 (1999), Hum Dil De Chuke Sanam (1999), Kuch Kuch Hota Hai (1998), Soldier (1998), Border (1997), Dil To Pagal Hai (1997), Gupt (1997), Pardes (1997), Raja Hindustani (1996), Khiladiyon Ka Khiladi (1996), Rangeela (1995), Dilwale Dulhaniya Le Jayenge (1995), Karan Arjun (1995), Coolie No. 1 (1995), Mohra (1994), Hum Aapke Hain Koun (1994), Hum Hain Rahi Pyar Ke (1993), Aankhen (1993), Jo Jeeta Wohi Sikander (1991), Aaj Ka Arjun (1990), Aashiqui (1990), Dil (1990), Ghayal (1990). Taal (1999), Sarfarosh (1999), Dil Se (1998), Hyderabad Blues (1998), Virasat (1997), Maachis (1996), Khamoshi: The Musical (1996), Bombay (1995), 1942 A Love Story (1994), Roja (1992), Prahaar (1991).
The Indian film Industry
The unorganized Indian film industry got industry status in 2001, which helped it grow faster. The growth in this decade is fueled by the more professionally approach in financing, production and other allied activities. It helped the new age film makers produce films like Dil Chahta Hai, Dhoom, Black, Bunty aur Babli, Rang De Basanti. Some of the largest production houses like Adlabs, UTV Movies, Yash Raj Films, Dharma Productions were the producers of these new modern films which touched new heights in terms of quality cinematography, innovative story lines, and technical quality advances. Moreover the hunger for cinema amongst the expatriate Indians encouraged film producers and distributors to produce and distribute films for them. Consequently, there have been a series of films like Mississippi Masala, Salaam Bombay, Monsoon Wedding, and The Guru. Few of these films did very well internationally and helped Indian cinema connect globally. It not only attracted global audiences but also global film makers, distributors, exhibitors.
The current practice of movie making in India viz. contractual relation, industry regulations, piracy and copy right laws is distinctly different from the global norms. In current scenario it becomes important for the Indian film industry to upgrade their regulations matching the global norms.
Race (2008), Jodhaa Akbar (2008), Om Shanti Om(2007), Welcome (2007), Chak De India(2007), Partner (2007), Bhool Bhulaiyaa(2007), Heyy Babyy (2007), Taare Zameen Par (2007), Guru(2007), Life In A… Metro (2007), Gandhi, My Father(2007), Johnny Gaddaar (2007), Eklavya (2007), Dhoom 2(2006), Lage Raho Munna Bhai(2006), Krrish (2006),Fanaa (2006), Rang De Basanti (2006), Don (2006), Kabhi Alvida Naa Kehna (2006), Vivah(2006), Dor (2006), Corporate (2006),Omkara (2006), Khosla Ka Ghosla (2006), Bunty Aur Babli(2005), Salaam Namaste (2005), Black (2005), Iqbal (2005), Parineeta(2005), Sarkar (2005), Veer-Zaara(2004), Main Hoon Na(2004), Mujhse Shaadi Karogi(2004), Dhoom(2004), Murder(2004), Yuva(2004), Lakshya(2004), Dev (2004), Swades (2004), Phir Milenge (2004),Koi… Mil Gaya(2003), Kal Ho Naa Ho(2003), Baghban(2003),Munnabhai M.B.B.S. (2003), Andaaz(2003), Pinjar(2003), Devdas(2002), Raaz(2002), Kaante (2002), Aankhen(2002), Saathiya(2002), Company (2002), Gadar(2001), Kabhi Khushi Kabhie Gham(2001), Lagaan(2001), Chandni Bar(2001), Dil Chahta Hai (2001), Kaho Naa… Pyaar Hai(2000), Mohabbatein(2000), Mission Kashmir(2000), Kya Kehna(2000), Hera Pheri (2000), Astitva (2000), Fiza(2000),
July 7 1896, the Lumiere Brothers’ Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay. This was the first rendezvou of celluloid in camera with the Indian audience. It was followed by Harishchandra Bhatvadekar two short films exhibition in 1899. The other vetran film makers of the time were – Hiralal Sen, F.B. Thanawalla, J.F. Madan, Abdullah Esoofally, N.G. Chitre and R.G. Torney. May 18, 1912 the film maker N.G. Chitre and R.G. Torney released a silent feature film Pundalik which was half British in its make.
Dhundiraj Govind Phalke (Dada Saheb Phalke) produced India’s first fully indigenous silent feature film Raja Harishchandra with titles in Hindi and English. The film was realeased on May 3 1913 at the Coronation Cinema, Bombay. The twenties witnessed emergence of many new companies and film makers viz. Dhiren Ganguly, Baburao Painter, Suchet Singh, Chandulal Shah, Ardershir Israni, and V. Santharam.
Bollywood got the voice
The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani. Alam Ara was released on March 14, 1931 at the Majestic Cinema in Bombay. The year 1931 also marked the beginning of the talking ear in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass). The thirties also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja) in 1932, Gujarathi (Narasinh Mehta) in 1932, Kannada (Dhurvkumar) in 1934, Oriya (Sita Bibaha) in 1934, Assamese (Joymati) in 1935, Punjabi (Sheila) in 1935, and Malayalam (Balan) in 1938. in 1937 Ardeshir Irani attempted colour picture Kisan Kanya bur color picture became reality only in sixties.
In the 30’s three major film centres developed which were based in Bombay (Mumbai), Calcutta (Kolkata) and Madras (Chennai). Of these centres, Bombay became the centre of the Hindi-Urdu film, while the other cinemas began to be regarded as local or regional films. The thirties also witnessed emergence of three big banners – Prabhat, Bombay Talkies, and New Theatres. These theaters took the lead in making serious but entertaining films. The studio system thrived in Bombay until the late 40s. The independent producer, identified potential of the star as the critical box-office factor, and began to chase them for their movies. The stars also realized their value and hiked their prices to unheard of levels. The changed trend continued to the present Indian film industry.
The fourties saw the emergence of the ‘playback singing’. With emergence of playback singing music became an important ingredient in Indian cinema. The playback singers like Lata Mangeshkar, Asha Bhonsle, Muhammed Rafi, Kishore Kumar dominated the Hindi film industry for decades. This was the historic decade for cinematography all over India. Some memorable films were produced during the forties such as Shantharam’s Dr. Kotnis Ki Amar Kahani, Mehboob’s Roti, Chetan Anand’s Neecha Nagar, Uday Shanker’s Kalpana, Abbas’s Dharti Ke Lal, Sohrab Modi’s Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia’s Court Dancer, S.S. Vasan’s Chandralekha, Vijay Bhatt’s Bharat Milap and Ram Rajya, Rajkapoor’s Barsaat and Aag.
Shaheed (1948), Barsaat (1949), Mahal (1949), Andaz (1949), Kismet (1943), Sikander (1941), Pukar (1939), Achut Kanya ( 1936), Devdas (1935), Toofan Mail (1934), Alam Ara (1931).
Golden Age of Bollywood
The fifties was the era of neorealism, which was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Devadas and Madhumati, Rajkapoor’s Boot Polish, Shri-420 and Jagte Raho, V. Shantharam’s Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood’s Mother India. The importance of 1950s in history of bollywood can’t be ignored. This was the dacade of growth and recognition. The first International Film Festival of India held in early 1952 at Bombay which was followed by the Satyajit Ray’s classic Pather Panchali in 1955. The Pather Panchali bagged the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. The decade also witnessed transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. In 1959, Guru Dutt makes India’s first cinemascope film, Kaagaz Ke Phool. The transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry.
The sixties began with a bang with the release of K. Asif’s Mughal-E-Azam which set a record at the box-office. It was followed by notable productions which include romantic musical and melodramas of a better quality. But over all the sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The 50s and 60s are regarded as the “Golden Age” of Indian cinema, in terms of films, stars, music and lyrics. This era saw the emergence of director/producers such as Raj Kapoor, Guru Dutt, Mehboob Khan, BR Chopra and Bimal Roy; great actors like Dilip Kumar, Raj Kapoor and Dev Anand – the holy trinity; and film musicians like Shanker-Jaikishen, Naushad, S D Burman. During the same time a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji, Rajinder Singh Bedi, Mani Kaul, Kumar Shahani, Avtar Kaul, Basu Bhattacharya, M.S. Sathyu, Shyam Benegal, and Kanthilal Rathod. In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. Among actors Rajesh Khanna becomes new boxoffice god with Aradhana.
Aradhana (1969), Do Raaste (1969), Khamoshi (1969), Padosan (1968), Ram Aur Shyam (1967), An Evening in Paris (1967), Jewel Thief (1967), Farz (1967), Upkar (1967), Teesri Manzil (1966), Mera Saaya (1966), Waqt (1965), Guide (1965), Jab Jab Phool Khile (1965), Sangam (1964), Haqeeqat (1964), Bandini (1963), Sahib Bibi Aur Ghulam (1962), Ganga Jamuna (1961), Junglee (1961), Kanoon (1960), Mughal-e-Azam (1960), Sujata (1959), Kaagaz Ke Phool (1959), Madhumati (1958), Chalti Ka Naam Gaadi (1958), Pyaasa (1957), Do Aankhen Barah Haath (1957), Mother India (1957), Chori Chori (1956), Jagte Raho (1956), Kabuliwalla (1956), C.I.D. (1956), Devdas (1955, Jhanak Jhanak Payal Baaje (1955), Shree 420 (1955), Aar Paar (1954), Do Bigha Zameen (1953) Aan (1952), Baazi (1951), Awaara (1951)
Next three Decades
The seventies started with Pakeezah – a cult classic. Indian film industry, during the decade, got sponsorship from government which allowed Indian parallel cinema to gain strenghth. This gifted Indian film industry a few finest actors of all time viz. Shabana Azmi, Smita Patil, Om Puri, Naseerudin Shah. The new wave cinema seems to have reached its peak towards the end of the seventies with film makers like Govind Nihalani, Saeed Mirza, Rabindra Dharmaraj, Sai Paranjpe, Muzafar Ali, and Biplab Roy. The decade also saw the rise of India’s greatest superstar, Amitabh Bachchan – the angry young man. The majority of the films of the decade were action oriented with revenge as the dominating theme.
The eighties belong to working-class audiences, mostly to male audiences. The decade saw largely action movie, disco dancing, and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance. The 80s and 90s also belongs to new generation of younger stars – Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan – who dominated the bollywood.
The emergence of colour television, videocassettes, and penetration of audiocassette in the 1980s changed the landscape of the bollywood. The audience during this decade mostly preferred watching movies at home. The trend changed once again in the ninties, which saw return of threaters, despite popularity of satellite and cable television. The family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls.
A new wave of film makers from South Indian studios began to release dubbed versions of their films. These films were major commercial successes in the north. At the forefront of these was Mani Ratnam’s Bombay. By the end of the 1990s it was clear that the only films which could compete with Hollywood at home and abroad will survive.
The decade saw emergence of the Shah Rukh Khan who revolutionises negative hero in Baazigar and Darr. He once again sets the trend of urbane, feelsmart movies with Dilwale Dulhaniya Le Jayenge. The decade also discovered a new teenage heart-throb – Hrithik Roshan.
Sargam (1979), Gol Maal (1979), Don (1978), Trishul (1978), Muqaddar Ka Sikandar (1978), Satyam Shivam Sundaram (1978), Dharam Veer (1977), Hum Kisi Se Kum Nahin (1977), Amar Akbar Anthony (1977), Shatranj Ke Khiladi (1977), Kabhi Kabhi (1976), Chitchor (1976), Julie (1975), Chupke Chupke (1975), Aandhi (1975), Sholay (1975), Jai Santoshi Maa (1975), Deewaar (1975), Roti Kapda Aur Makaan (1974), Garam Hawa (1973), Yaadon Ki Baraat (1973), Abhimaan (1973), Zanjeer (1973), Bobby (1973), Jugnu (1973), Shor (1972), Seeta Aur Geeta (1972), Pakeezah (1972), Caravan (1972), Hare Rama Hare Krishna (1971), Kati Patang (1971), Anand (1971), Guddi (1971), Mera Gaon Mera Desh (1971), Purab Aur Paschim (1971), Sachaa Jhutha (1970), Mera Naam Joker (1970), Maine Pyar Kiya (1989), Chandni (1989), Parinda (1989), Qayamat Se Qayamat Tak (1988), Salaam Bombay (1988), Mr. India (1987), Naam (1986), Ram Teri Ganga Maili (1985), Saagar (1985), Betaab (1983), Hero (1983), Masoom (1983), Jaane Bhi Do Yaaron (1983), Woh Saat Din (1983), Nikaah (1982), Prem Rog (1982), Satte Pe Satta (1982), Arth (1982), Ek Duuje Ke Liye (1981), Kalyug (1980 film) (1981), Kranti (1981), Naseeb (1981), Umrao Jaan (1981), Qurbani (1980), Biwi No.1 (1999), Hum Dil De Chuke Sanam (1999), Kuch Kuch Hota Hai (1998), Soldier (1998), Border (1997), Dil To Pagal Hai (1997), Gupt (1997), Pardes (1997), Raja Hindustani (1996), Khiladiyon Ka Khiladi (1996), Rangeela (1995), Dilwale Dulhaniya Le Jayenge (1995), Karan Arjun (1995), Coolie No. 1 (1995), Mohra (1994), Hum Aapke Hain Koun (1994), Hum Hain Rahi Pyar Ke (1993), Aankhen (1993), Jo Jeeta Wohi Sikander (1991), Aaj Ka Arjun (1990), Aashiqui (1990), Dil (1990), Ghayal (1990). Taal (1999), Sarfarosh (1999), Dil Se (1998), Hyderabad Blues (1998), Virasat (1997), Maachis (1996), Khamoshi: The Musical (1996), Bombay (1995), 1942 A Love Story (1994), Roja (1992), Prahaar (1991).
The Indian film Industry
The unorganized Indian film industry got industry status in 2001, which helped it grow faster. The growth in this decade is fueled by the more professionally approach in financing, production and other allied activities. It helped the new age film makers produce films like Dil Chahta Hai, Dhoom, Black, Bunty aur Babli, Rang De Basanti. Some of the largest production houses like Adlabs, UTV Movies, Yash Raj Films, Dharma Productions were the producers of these new modern films which touched new heights in terms of quality cinematography, innovative story lines, and technical quality advances. Moreover the hunger for cinema amongst the expatriate Indians encouraged film producers and distributors to produce and distribute films for them. Consequently, there have been a series of films like Mississippi Masala, Salaam Bombay, Monsoon Wedding, and The Guru. Few of these films did very well internationally and helped Indian cinema connect globally. It not only attracted global audiences but also global film makers, distributors, exhibitors.
The current practice of movie making in India viz. contractual relation, industry regulations, piracy and copy right laws is distinctly different from the global norms. In current scenario it becomes important for the Indian film industry to upgrade their regulations matching the global norms.
Race (2008), Jodhaa Akbar (2008), Om Shanti Om(2007), Welcome (2007), Chak De India(2007), Partner (2007), Bhool Bhulaiyaa(2007), Heyy Babyy (2007), Taare Zameen Par (2007), Guru(2007), Life In A… Metro (2007), Gandhi, My Father(2007), Johnny Gaddaar (2007), Eklavya (2007), Dhoom 2(2006), Lage Raho Munna Bhai(2006), Krrish (2006),Fanaa (2006), Rang De Basanti (2006), Don (2006), Kabhi Alvida Naa Kehna (2006), Vivah(2006), Dor (2006), Corporate (2006),Omkara (2006), Khosla Ka Ghosla (2006), Bunty Aur Babli(2005), Salaam Namaste (2005), Black (2005), Iqbal (2005), Parineeta(2005), Sarkar (2005), Veer-Zaara(2004), Main Hoon Na(2004), Mujhse Shaadi Karogi(2004), Dhoom(2004), Murder(2004), Yuva(2004), Lakshya(2004), Dev (2004), Swades (2004), Phir Milenge (2004),Koi… Mil Gaya(2003), Kal Ho Naa Ho(2003), Baghban(2003),Munnabhai M.B.B.S. (2003), Andaaz(2003), Pinjar(2003), Devdas(2002), Raaz(2002), Kaante (2002), Aankhen(2002), Saathiya(2002), Company (2002), Gadar(2001), Kabhi Khushi Kabhie Gham(2001), Lagaan(2001), Chandni Bar(2001), Dil Chahta Hai (2001), Kaho Naa… Pyaar Hai(2000), Mohabbatein(2000), Mission Kashmir(2000), Kya Kehna(2000), Hera Pheri (2000), Astitva (2000), Fiza(2000),
Changing face of Indian advertising mascots
Air India’s Maharaja which came into existence in the year 1946 and the Amul girl in 1967 are the mascots which captured the hearts of one and all in India. These mascots caught the attention of the consumers as they were charming and connected well with the consumers. Indian corporate have also seen few other mascots like Fido the cool swanky doodle of 7 Up, doughboy the sweet little butler of Godrej Pillsbury, Gattu who build brand Asian Paint, Chintamani who endorsed ICICI, Sunny who is creating magic with Sunfeast. The success of these mascots can be qualified by, the increase in the brand value of these brands consumer connect.
Decline of mascot power
The Indian market grew at a fast pace in nineties everything from pencils to cars, salt to luxury goods required an advertising campaign this was the time when we saw emergence of celebrity advertising and mascots lost their appeal. We also lived in a time when there was no argument regarding the fact that a celebrity can make or break a brand. The pampering and recognition given to the celebrity in the marketing of the product in some cases was even greater than the product itself. The advertising world, during this time strongly believed that the celebrities transfer their success, personality, status and power to the brand. They attributed reasons for the growth of celebrity endorsements to:
• Create great brand awareness for product
• Sustaining the brand image
• Stimulating and reviving brands
• Product association
However, the advertising world also realized that many brand ambassadors does not practice what they preach and sometimes controversies and unpleasant incidents connected with the celebrity causes damage. It is also observed that over exposure and multiple endorsements too can damage the image of product. The Indian market which is saturated with celebrity endorsements has seen emergence of the mascots.
Emergence of the mascots
The courage and optimism that common man of R. K. Laxman portrays and a middle-class Indian, that Chintamani portrays is certainly unmatched but the new age mascots are more attractive, and trendy. The advertisers have become more creative with the use of animation. The new age mascots have a lasting appeal and create a whole new persona for the product. They manage the product as efficiently as a celebrity. Moreover, in the current marketing scenario when the celebrity charisma diminishing away the world of advertising is turning back to mascots.
Celebrities get associated with too many products and therefore it is difficult to relate them with one particular brand, which is not the case with the mascots. For an example Shahrukh Khan endorse brands such as Pepsi, Airtel, Santro, Emami , and many more but Fido is just associated with 7Up. The strength of mascots lies in its uniqueness, and its power of effectively communicating the ethos of the brand like, Chintamani solves all our worries related to tax savings and good returns paving a new way for no chinta, Share Khan tell us how to smartly invest in stocks and reap rich dividends, Gattu with the brush in his hand and the smile on his face passes the message that a bright coat of paint will brighten up the house. Moreover the mascots are not as expensive as celebrities. The cost of creating these characters is as low as development of a normal commercial. Lowe Advertising creative director Delna Sethna claims that the first Chintamani ad cost around Rs 7 lakh. Moreover, the animated characters also give more scope for creative-flexibility.
Mascots are dynamic and they adapt with changing times. We should acknowledge how the Amul girl in polka dots has changed overtime, and Fido has makeovers with the changing time. The advertising world has also observed that the popularity of any mascot is not only based on the response they get, but also depend on the fact that these faces have a higher recall value.
Conclusion
The Amul girl was born in 1967 is still a popular mascot. She may soon enter into the Guinness Book of World Records as the oldest campaign to survive in the market. This goes on to prove that the mascots are more appropriate brand ambassadors. The impact and success of the mascot, depends on how effectively it conveys the brand values and the ideals that consumers would associate with.
Decline of mascot power
The Indian market grew at a fast pace in nineties everything from pencils to cars, salt to luxury goods required an advertising campaign this was the time when we saw emergence of celebrity advertising and mascots lost their appeal. We also lived in a time when there was no argument regarding the fact that a celebrity can make or break a brand. The pampering and recognition given to the celebrity in the marketing of the product in some cases was even greater than the product itself. The advertising world, during this time strongly believed that the celebrities transfer their success, personality, status and power to the brand. They attributed reasons for the growth of celebrity endorsements to:
• Create great brand awareness for product
• Sustaining the brand image
• Stimulating and reviving brands
• Product association
However, the advertising world also realized that many brand ambassadors does not practice what they preach and sometimes controversies and unpleasant incidents connected with the celebrity causes damage. It is also observed that over exposure and multiple endorsements too can damage the image of product. The Indian market which is saturated with celebrity endorsements has seen emergence of the mascots.
Emergence of the mascots
The courage and optimism that common man of R. K. Laxman portrays and a middle-class Indian, that Chintamani portrays is certainly unmatched but the new age mascots are more attractive, and trendy. The advertisers have become more creative with the use of animation. The new age mascots have a lasting appeal and create a whole new persona for the product. They manage the product as efficiently as a celebrity. Moreover, in the current marketing scenario when the celebrity charisma diminishing away the world of advertising is turning back to mascots.
Celebrities get associated with too many products and therefore it is difficult to relate them with one particular brand, which is not the case with the mascots. For an example Shahrukh Khan endorse brands such as Pepsi, Airtel, Santro, Emami , and many more but Fido is just associated with 7Up. The strength of mascots lies in its uniqueness, and its power of effectively communicating the ethos of the brand like, Chintamani solves all our worries related to tax savings and good returns paving a new way for no chinta, Share Khan tell us how to smartly invest in stocks and reap rich dividends, Gattu with the brush in his hand and the smile on his face passes the message that a bright coat of paint will brighten up the house. Moreover the mascots are not as expensive as celebrities. The cost of creating these characters is as low as development of a normal commercial. Lowe Advertising creative director Delna Sethna claims that the first Chintamani ad cost around Rs 7 lakh. Moreover, the animated characters also give more scope for creative-flexibility.
Mascots are dynamic and they adapt with changing times. We should acknowledge how the Amul girl in polka dots has changed overtime, and Fido has makeovers with the changing time. The advertising world has also observed that the popularity of any mascot is not only based on the response they get, but also depend on the fact that these faces have a higher recall value.
Conclusion
The Amul girl was born in 1967 is still a popular mascot. She may soon enter into the Guinness Book of World Records as the oldest campaign to survive in the market. This goes on to prove that the mascots are more appropriate brand ambassadors. The impact and success of the mascot, depends on how effectively it conveys the brand values and the ideals that consumers would associate with.
Thursday, July 24, 2008
Mobile Phone – The Fourth Screen
Birth of Fourth Screen
2007, Barcelona, Spain hosted the 3GSM World Congress. It marked the entry of the Indian film industry into the GSM communication arena. At this event, Indian film industry showcased its first film specially created for mobile phone users across the world. No wonder the 3GSM World Congress also witnessed the birth of Fourth Screen (the Silver Screen, TV, PC, and now Mobile screen) in India. This move is expected to have a huge impact not only on the Indian mobile phone market but also on the media industry. The emergence of the Fourth Screen can be seen as the first step towards Indian film industry‘s foray into the mobile entertainment market. It also marked the emergence of the mobile phone from merely a communication device to becoming a major source of entertainment.
First Movie on Fourth Screen
The movie showcased at the 3GSM World Congress was Dus Kahaniyaan. It is one of innovative story telling initiative which was tailored for mobile devices. Dus Kahaniyaan was produced by one of the leading Bollywood producers Sanjay Gupta. Sanjay Gupta’s entry in the mobile entertainment market was supported by GSMA, Roamware Inc., and Hungama Mobile. MVAS company, Roamware helped producers of Dus Kahaniyaan. in integrating the film content into the mobile phone through its ‘Media Call’ technology. Hungama helped in publishing the mobile phone content. The mobile VAS providers – Roamware, and Hungama Mobile saw tremendous potential in Bollywood movies. They believed that formatting the content for the mobile audience would increase the reach of the movie. The features like simplicity of delivery ease of use, and accessibility provides the fourth screen edge over others.
The fourth screen has also hit serials. This is the age of Internet and mobile serials, Rajshri Media, India’s leading Web and Mobile Studio, has launched Akbar Birbal remixed. The Akbar Birbal remixed is 3 minute a piece 90 episode series. The Akbar Birbal remixed, set in the by-lanes of Bhendi Bazar in Mumbai. (Read report on http://chaturvedibraj.wordpress.com/2008/07/04/akbar-birbal-remixed-a-new-beginning/)
MVAS to play critical role in development of Fourth Screen
The MVAS market in India is fragmented and each player have unique value offering. These MVAS providers can join hands and develop a pool which jointly offers complete entertainment package. In the case of Dus Kahaniyaan two different MVAS players – Hungama Mobile had experience in content publishing and Roamware had global reach, collaborated to develop the offerings.
Handset Manufacturers role in development of Fourth Screen
While mobile entertainment companies have been developing interesting content for the mobile phone users, mobile handset companies have tried to come out with the latest technologies that support such offerings. In late 2007, Nokia entered into an agreement with leading Bollywood actor Shah Rukh Khan for making movie clips, ring tones, wallpapers for his film, Om Shanti Om.
Conclusion
Mobile entertainment is poised to drive not only mobile entertainment industry in a big way but also attracting advertisers who are also viewing it as an attractive new media channel.
2007, Barcelona, Spain hosted the 3GSM World Congress. It marked the entry of the Indian film industry into the GSM communication arena. At this event, Indian film industry showcased its first film specially created for mobile phone users across the world. No wonder the 3GSM World Congress also witnessed the birth of Fourth Screen (the Silver Screen, TV, PC, and now Mobile screen) in India. This move is expected to have a huge impact not only on the Indian mobile phone market but also on the media industry. The emergence of the Fourth Screen can be seen as the first step towards Indian film industry‘s foray into the mobile entertainment market. It also marked the emergence of the mobile phone from merely a communication device to becoming a major source of entertainment.
First Movie on Fourth Screen
The movie showcased at the 3GSM World Congress was Dus Kahaniyaan. It is one of innovative story telling initiative which was tailored for mobile devices. Dus Kahaniyaan was produced by one of the leading Bollywood producers Sanjay Gupta. Sanjay Gupta’s entry in the mobile entertainment market was supported by GSMA, Roamware Inc., and Hungama Mobile. MVAS company, Roamware helped producers of Dus Kahaniyaan. in integrating the film content into the mobile phone through its ‘Media Call’ technology. Hungama helped in publishing the mobile phone content. The mobile VAS providers – Roamware, and Hungama Mobile saw tremendous potential in Bollywood movies. They believed that formatting the content for the mobile audience would increase the reach of the movie. The features like simplicity of delivery ease of use, and accessibility provides the fourth screen edge over others.
The fourth screen has also hit serials. This is the age of Internet and mobile serials, Rajshri Media, India’s leading Web and Mobile Studio, has launched Akbar Birbal remixed. The Akbar Birbal remixed is 3 minute a piece 90 episode series. The Akbar Birbal remixed, set in the by-lanes of Bhendi Bazar in Mumbai. (Read report on http://chaturvedibraj.wordpress.com/2008/07/04/akbar-birbal-remixed-a-new-beginning/)
MVAS to play critical role in development of Fourth Screen
The MVAS market in India is fragmented and each player have unique value offering. These MVAS providers can join hands and develop a pool which jointly offers complete entertainment package. In the case of Dus Kahaniyaan two different MVAS players – Hungama Mobile had experience in content publishing and Roamware had global reach, collaborated to develop the offerings.
Handset Manufacturers role in development of Fourth Screen
While mobile entertainment companies have been developing interesting content for the mobile phone users, mobile handset companies have tried to come out with the latest technologies that support such offerings. In late 2007, Nokia entered into an agreement with leading Bollywood actor Shah Rukh Khan for making movie clips, ring tones, wallpapers for his film, Om Shanti Om.
Conclusion
Mobile entertainment is poised to drive not only mobile entertainment industry in a big way but also attracting advertisers who are also viewing it as an attractive new media channel.
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