Category: MEDIA

  • Ranjona Banerji: What journalism?

    Ranjona BanerjiThe front page of yesterday’s Times of India, Dehradun edition, is an ad from an education company which will help you to study in the UK.

     

    This is a zeitgeist ad – the spirit of the times. It is an ad which is using current trends. That Indians are moving out of India like never before. Occasionally, you will see glimpses of this in news sources, but not at the top of the list. In the 1980s, newspapers screamed about the “brain drain”, how the cleverest and best were leaving India. Today, snippets tell us that more students are moving out than before, more residents are giving up Indian citizenship than ever before, Indians are willing to go to Israel to fight someone else’s war. And Indians are cheated into going to Ukraine to fight wars they know nothing about.

     

    Sunanda K Datta-Ray, former editor of The Statesman, author and columnist, writes this in his latest column for the Asian Age: “With the India Employment Report claiming that 29 per cent of Indian graduates need jobs, graduates of Lucknow’s IIM and Pilani’s Birla Institute of Technology and Science reportedly also face difficulties.

    “India has indeed made significant economic progress in many sectors.

    The stock market is booming. Property prices are soaring. But investment in human resources is relatively feeble, although one quarter of the population languishes below the official poverty threshold of Rs 32 per day. The World Food Programme reckons that 21.25 per cent of Indians live on less than $1.90 daily. It also says that India is home to a quarter of the world’s undernourished people.”

     

    Is this top of the news?

     

    What is also not top of the news is the upcoming general election. There is some news about Prime Minister Narendra Modi making some random allegations against opposition parties on some campaign somewhere rather than discuss his own towering achievements.

     

    There is disturbing news about drivers falling asleep on the Yamuna expressway, leading to accidents. Indian roads remain a major cause of death in India, whether they are the usual bumpy craters or smooth fancy highways. At no point must the Union government be held to account, even if the National Highways Authority and several falling flyovers and bridges come under its jurisdiction. I would make the excuse that the media has been told that criticizing the Union Government violates the Election Commission’s Model Code of Conduct but for the fact that criticism of the Union Government is verboten even when the Model Code of Conduct is not in force.

     

    The Hindu, far away from the Centre of India, well not the centre of India but the centre of power, can discuss anomalies in the contentious Citizenship Amendment Act and discussions about the attempt to destroy the Aam Aadmi Party by the Union Government’s various departments of arms and ammunition. In other discussions, the media is careful to frame all problems as originating from and because of the opposition parties, leaving an innocent Union Government with no option but to arrest people without any evidence.

     

    I am of course picking up random bits of news from a couple of newspapers. In many of these, you won’t even find any news about the state of Manipur. It is almost as if it has ceased to exist. An article in The Times of India reports Modi saying that “timely intervention by the Centre saved Manipur”. The newspaper itself cannot contest this open lie. Instead, as usual it quotes the Congress’s allegations against the Centre. Courage is tough in tough times when democracy is at its highest flourishing point.

     

    Other newspapers present a very different and disturbing picture:

     

    https://www.deccanherald.com/india/manipur/deaths-destruction-race-for-dominance-turns-manipurs-moreh-into-a-war-zone-2969899

     

    https://indianexpress.com/article/political-pulse/manipur-lok-sabha-polls-2024-campaign-violence-9257249/

     

     

    As in India, so in the great western world. Over 30,000 Palestinians dead thanks to Israel and its “defence forces”. But the great western newspapers are also unable, six months after the assault on Gaza began, to fairly present the fact it is Israel which is doing the killing. Or that students in their universities are being punished for supporting Palestine. Or that they themselves are so deep in the clutches of Israeli propaganda, that they cannot even breathe independently and without permission from Israel.

     

    Thus, journalism what???

    I mean, What journalism?

     

    Ranjona Banerji is a senior journalist and commentator. She writes on MxMIndia on Tuesdays and Fridays. Her views here are personal.

  • News9 launches U-14 football talent hunt

    TV9 Network’s English news brand News9 has announced the launch of ‘Indian Tigers & Tigresses’, billed as the largest-ever football talent hunt aimed at girls and boys below 14 years of age.

    The occasion witnessed the participation of stalwarts of German football including Kay Dammholz, Head of International Media at the German Football Association (DFB), Peter Leible from Bundesliga, Gerhard Riedl, CEO of Riespo in Austria, Julia Farr of Borussia Dortmund in Asia, Anselm Küchle from the International Football Institute in Germany, Philip Klöckl, CEO of Strykerlabs in Austria, and Valentina Putz, also from Strykerlabs.

    Commenting on the initiative, Barun Das, MD and CEO of TV9 Network said: “The News9 ‘Indian Tigers & Tigresses’ initiative is a matter of great pride for us, as it takes football in a whole new direction in India. We envision a future where Indian footballers are given opportunities to be in the global spotlight akin to any of the major footballing nations in the West. This is also one of the pillars that need to be leveraged in India’s ascendancy in the global head table. That starts by giving these players a level playing field, by making football a serious career option for these talented youngsters, and training them to be world-class players from a young age. This is not just about finding out what you are good at – it is about opening doors and lighting up thousands of dreams”.

    The talent hunt will run April through July and will be amplified across TV9 Network platforms reaching an approximate audience of over 220 crore viewers nationwide. Moreover, TV9 Digital, which has over 100 million unique users, will promote the initiative across all its multi-lingual platforms including its YouTube channels.

    “As we embark on this ground-breaking initiative, we stand at the crossroads of innovation and opportunity. Together, with our esteemed partners and the vibrant talent pool of India, we are poised to redefine the future of soccer,” said Peter Leible, Senior Advisor, Bundesliga.

    Registration for the talent hunt will begin shortly, with European football scouts set to evaluate the entries. Selected candidates will undergo scouting at various venues across India by the end of June.

  • In the Age of AI will Media & Advertising Divorce?

    In the Age of AI will Media & Advertising Divorce?

    Image rendered by ChatGPT given the column theme

     

    Ashoke AgarrwalA few decades ago, I was helping an advertising honcho craft an acceptance speech for a Lifetime Achievement Award. High on the list of reasons why advertising is a social good is that it enables citizens to access information and entertainment by providing media at a reasonable or no cost. Fast forward a few years, and the media veteran Pradeep Guha shocked the world by overtly positioning the primary role of the Times of India (TOI), once India’s newspaper of record, as an amasser of audiences for advertising to address. Pradeep’s honest assertion presaged the fall from grace of TOI and most other newspapers from a necessary read to a toilet accessory, if that.

    In the realm of broadcast and cable television, the relentless pursuit of audiences for advertisers has led to a steady diet of mind-numbing soap operas and shallow news coverage. The once vibrant and diverse landscape of television has been reduced to a monotonous cycle of content, all in the name of catering to advertisers’ demands.

    In the early years, social media was hailed as a tool of enlightenment and revolution, and the Arab Spring and Ukraine’s Maidan Revolution were credited to it. Today, it is seen not just as banal but as an insidious cause of rising depression among the young and tribalism at large. What gave? Once again, it was social media’s marriage with advertising. As Google (Alphabet) and Facebook (Meta) anchored their business model to advertising, they invented and nurtured algorithms that invented hordes of individuals hooked on content that amplified their worst impulses.

    The rise of OTT (Over The Top) television based on a Netflix-like subscription model led to a creative renaissance that restored television content as an art form similar to the movies (the fact that film and music had survived, in the main, as art forms have to do with the fact that advertising played little or no role in their business model). To my mind, OTT’s recent experiment with advertising as a source of revenue is dangerous and could lead to an inevitable creative slide into inaneness.

    The world is now seeing two revolutions.

    There is now a backlash to the increasing irrelevance of traditional mass media and an increasing wariness with social media as a news and information source. As a result, social media like Instagram and, where available, TikTok (or its imitators) have become platforms for content creators across various genres. While traditional social media platforms are becoming forums for content creators aiming at the mass market, niche platforms like Substack, Medium, Reddit and YouTube are becoming platforms for niche content creators in journalism, opinion, reviews and think pieces.

    In the coming years, if traditional media continues its decline, individuals or small, independent teams may take over a more significant share of the content market. While niche content on platforms like Substack and Medium is subscription or micro-payment-supported, content creators of mass platforms like Instagram and TikTok depend upon an insidious form of advertising called Influencer Marketing.

    While the dispersed content-creation model gathers momentum, another revolution is afoot as AI matures and uniquely empowers individuals and businesses. In a decade or two, communication between brands and individuals will be AI mediated with an AI avatar of the brand in communication with an AI avatar of the individual. I have posited this in my MxMIndia column of Jan 2022 titled ‘The Coming Post-Digital Age’.

    This will then result in a divorce between the media and advertising, leading to:

    • A re-emergence of mass media, albeit with a different business model
    • a repositioning of social media as a valued platform for content creators
    • And more effective and efficient brand-building by marketers through direct communication and social diffusion

    What do I mean by social diffusion? Globally, brands like Tesla and Apple have been built chiefly on social diffusion, which involves shared social narratives and the prosaic term unpaid media. Brands like Mercedes and BMW may have had advertising support in developed countries but have been mainly built on social diffusion in India. The guru brands – Sri Sri and Satguru – have been built through social diffusion. If Patanjali had continued to rely on social diffusion instead of relying on advertising to meet vaulting ambition, it would not be in the trouble it is today.

    In conclusion, the marketing communication discipline will shift paradigm over the next decade. One dimension of the change will be technology, with the emergence of AI as the vital medium of consumer interaction. The other dimension will be social, with the slow and steady accretion of social diffusion through narratives and word-of-mouth.

    Ashoke Agarrwal is a veteran advertising professional with around four decades in advertising and marketing services. Agarrwal, a chemical engineer from IIT Mumbai and a postgraduate from IIM Bangalore, is a pro-entrepreneur with past and current ventures in market research, advertising, CGI, e-learning and brand consultancy. He writes on MxMIndia every Thursday. His views here are personal.

  • Aaj Tak takes the helicopter route for elections coverage

    What we are set to witness is the mother-of-all-elections. And for Hindi news television leaders Aaj Tak, even the sky is not the limit as far as the coverage goes. Star anchor-editor Anjana Om Kashyap will take the helicopter route for a special show titled ‘Rajtilak’. Kashyap will journey across 100 cities in India and to remote parts of the country.

    Speaking on this occasion, Rahul Shaw (CEO – TV & Radio, TVTN) said: “Rajtilak’ prioritises raw, unfiltered opinions and perspectives of citizens. As the most trusted news brand of the country, the citizens expect no less from AajTak. AajTak’s Helicopter shot in the final match of Indian politics will revolutionise the coverage, guaranteeing unprecedented reach and engagement with democracy in live action.”

    Added Sandeep Seksaria (Managing Director, LTK Industries) added: “LTK Group is proud and pleased to be associated with TV Today Network, India Today Group for this unique initiative Aaj Tak ka Helicopter Shot – ‘Rajtilak’. The communication objective of our brand Macho Hint and the Aaj Tak initiative matches perfectly well to be at the centre of the nation’s socio-political conversation. The idea of reaching out to the people across the nation aerially and bring to them the pulse of the nation is quite remarkable and Macho Hint is thrilled to be an honoured partner in this initiative.”

    Said Shashi Sinha, CEO of IPG Mediabrands India: “We are delighted to partner with Macho Hint of LTK Industries and Aaj Tak in this unique and innovative programme, Rajtilak Helicopter Shot.”

  • Present Imperfect. Future Shock. Journalism students see an industry in crisis

    Present Imperfect. Future Shock. Journalism students see an industry in crisis

    By Trish Audette-Longo & Christianna Alexiou

    It’s hard not to see the journalism industry as one in crisis.

    In February, Bell Media announced it was ending multiple CTV newscasts, making other programming cuts and selling 45 radio stations. Its parent company, BCE Inc., also announced it is cutting 4,800 jobs “at all levels of the company,” saying fewer than 10 per cent are at Bell Media.

    Weeks later, Vice Media said it would stop publishing on Vice.com and lay off hundreds.

    These decisions followed CBC’s December 2023 announcement that it would cut 600 positions, and news last fall that some Canadian journalism schools had shut down or paused their programs.

    Across the country, the outlook for the future of news is — at best — uncertain. Not talking about the state of the industry is not an option for journalism educators.

    In journalism school, students learn their craft while engaging with critical questions about their roles and responsibilities. They are often taught by previous or current journalists, whose work experiences prepare them to help students tackle reporting challenges.

    Crises ask journalism educators, students and practitioners to grapple with sharing stories about what the future could hold. What will journalists’ jobs look like in five years? Or 25 years?

    No one in any industry would be able to answer such questions with certainty. But critical events in journalism demand we talk through uncertain futures. And this presents follow-up questions. What are the risks and rewards of talking openly about precarity? How do you start a conversation when the future is so uncertain?

     

    Understanding journalism education

    In 2015, with the shock of the 2008 economic crisis still working through newsrooms, journalism educators offered a wide-ranging map for reevaluating the goals of journalism schools, and whether they are solely meant to train future journalists.

    Crises run into each other, overlapping and informing responses to change. COVID-19 and a reckoning with racism in journalism and other institutions have demanded new reflections on journalism education.

     

    Pathways to the future

    It’s time journalism educators shift conversations with students, to address their experiences, their worries and their understanding of what journalism is and what they want it to be.

    In 2022, we asked journalism students at Carleton University — where we, respectively, teach and studied — how they felt about their training through COVID-19. We were curious about how students viewed online learning and transitioning into journalism jobs.

    What we heard were concerns about burnout, precarity, work-life balance and the long-term outlook for a life in journalism.

    “I just feel like almost every week or every few weeks, I go on Twitter and there’s a journalist who’s like in their 30s or 40s, like halfway through their career, who just quit,” one student said.

    Students knew the risks of going into the industry, thanks to news of other cutbacks, guest speaker testimonies and their own experiences losing internship opportunities when the pandemic forced newsrooms online.

     

    Anticipating challenges

    We asked journalism students what they thought a day in the life of a journalist looked like. They talked about days that demanded endurance, dedication and working through different kinds of uncertainty.

    “They’re just always on,” one student said. “I don’t think journalists have a normal day. As in, you know, get up, get to work, get home.”

    Another student described “general burnout” as “a huge part” of the job.

    It isn’t surprising that students anticipated challenges finding work and worried about long-term financial stability. In some ways, their responses align with a broader Gen-Z refusal to put their jobs at the centre of their lives or accept low pay.

    “I don’t want to say, you know, the more money you make the more successful you are, but being able to just have that security is, I think, a huge thing,” one student said.

    “Maybe it doesn’t quite align with ‘success’ in a ‘making a difference’ kind of way. But I think (financial security) gives you an ability to make a difference.”

    Students also flagged the importance of mental health and well-being.

    “There is an expectation that your entire life should revolve around chasing a story until you physically cannot anymore,” one student said, explaining that this kind of thinking turned them away from journalism.

     

    Learning together

    Today’s journalism students have likely been told their entire lives — by friends, family, pop culture and so many reports — that it’s a dying industry. Nonetheless, they’re driven to find out more.

    Journalism in crisis, as others have argued, presents an opportunity to unpack traditions and reimagine practices.

    It’s also an opportunity to reconsider how journalism schools and newsrooms respond to the concerns of emerging journalists. How can precarity and burnout be addressed collectively inside and outside journalism, not as individual matters?

    One place this can begin is with classroom conversations, collectively taking on uncomfortable truths and fears alongside building new skills.

     

    Navigating not having reassuring answers

    One risk, for educators, is not having ready-made, reassuring answers to questions of insecurity.

    Introducing worst-case scenarios also risks scaring away students. In our interviews, one student cautioned against presenting guest speakers’ negative portrayals of the industry too early, for example.

    But recent news makes industry crises impossible not to talk about.

    Talking through crises can allow for discussion of alternatives and solutions. However, care should be taken to not romanticize what has worked in the past, including precarious conditions like long hours, low pay or competing for fewer and fewer jobs.

    Instead, it’s helpful to think of imagining different journalism futures as an in-progress collaboration for students, educators, journalists and news organization leaders. Such collaboration is a project of articulating not only crisis conditions, but drawing on shared experiences to figure out what it would take to make things better.

    Looking back, we wonder what responses and creative solutions we would have heard if we asked students what they wanted their days to look like as journalists — not just what they thought the job looked like already.The Conversation

     

    Trish Audette-Longo is Assistant Professor of Journalism Studies, Carleton University and Christianna Alexiou is an MSc in Regulation Student at the London School of Economics and Political Science. This article is republished from The Conversation under a Creative Commons license. Read the original article.

  • Sony Liv to air Siddhartha Basu’s ‘Quizzer Of The Year’

    Remember Siddhartha Basu doing Quiz Time on Doordarshan in the mid-1980s? And various other shows like: Spectrum, The India Quez, The Beanstalk Quiz Summitt, Mastermind India, University Challenge, India’s Child Genius and of course Kaun Banega Crorepati.

    Basu and wife Anita Kaul Basu are now streaming Quizzer Of The Year (QOTY), a nationwide challenge on Sony Liv.

    It started from April 15 with zonal rounds hosted by seasoned quizmasters Joy Bhattacharjya and Col Vembu Shankar. Winning teams will advance to the quarterfinals, semi-finals, finals hosted by Basu, with the ultimate winner being crowned the Quizzer Of The Year.

  • ABP Network restructures sales team

    ABP Network has announced a series of strategic changes within its sales leadership team aimed at optimising operations, fostering enhanced collaboration, and positioning the company for success in the forthcoming year.

    Key highlights of the restructuring include:

    At the national level:

    • Parul Kamraelevated to National Sales Head for ABP News and ABP Asmita
    • Gautam Duttaelevated to National Sales Head for ABP Ananda
    • Shailendra Hegdeelevated to National Sales Head for ABP Majha

     At the regional level:

    • Saurabh Goelelevated to Region Head – North
    • Suman Mukherjeeelevated to Region Head – East
    • Madhvi Gajwanielevated to Region Head – West for ABP News, ABP Ananda, and ABP Asmita
    • Mahesh Bordeelevated to Region Head for ABP Majha in the West, in addition to his current role overseeing the Network for the rest of Maharashtra

    At branch level:

    • Sonali Chauhanto lead sales for ABP Ananda and ABP Majha in the North
    • Rishabh Duato lead sales for ABP News and ABP Asmita in the North
    • Saheli Dholto lead sales for Consolidated Team in the East
    • Kumar Luthriato lead sales for ABP News and ABP Asmita in the West

    For Spotlight:

    • Dhruv Bhattacharyahas been elevated to lead All India Sales for Spotlight. He will continue to manage States Business for the North
    • Surabhi Kesarwaniwill be Spotlight Head for North
    • Nishant Chaturvediwill be Spotlight Head for West and  South
    • Prashant Kumarwill join Spotlight team for West, based out of Mumbai

    Notes a communique: “As the organisation reflects on the achievements of the past year and gears up for an eventful election cycle, these changes, are designed to instill a sharper and more focused approach to its business. The new structure will empower sales teams, promote accountability, and enhance the company’s agility and responsiveness to market dynamics. This revamped structure reflects ABP Network’s unwavering commitment to innovation, customer-centricity, and market leadership. By empowering the teams and streamlining operations, ABP Network is poised to drive sustainable growth and deliver exceptional value to its stakeholders.”

  • Zee Entertainment streamlines org structure

    The Board of Zee Entertainment Enterprises Ltd has approved the streamlined organisation structure proposed by the MD and CEO Punit Goenka. The objective is to nurture collaboration and leverage synergies amongst the core business segments which include Broadcast, Digital, Movies and Music.

    The composition of the new structure approved by the Board is as follows:

    • Punit Goenka, MD & CEO will assume direct charge of the critical business verticals including the Domestic Broadcast Business. The following leaders will report directly into the MD & CEO:
      • Siju Prabhakaran, who has led the South cluster of channels, will take additional responsibility of the West cluster, further fortifying the performance in the mentioned markets.
      • Samrat Ghosh, who has led the East cluster of channels, will take additional responsibility of North & Premium cluster.
      • Ruchir Tiwari will continue to lead the Hindi Movies cluster, with a focus on quality entertainment.
      • Vishnu Shankar will continue to lead &TV and the FTA segment.
      • Ashish Sehgal will be responsible for Integrated Advertisement Sales for the Broadcast and Digital business. In this enhanced role, for the digital business revenue, Sehgal will also report into Amit Goenka (for the Broadcast business revenue he will continue to report into Goenka).

    Meanwhile, Amit Goenka will continue to lead the digital business for the company, taking direct charge of original content (including movies). He will assume additional charge of the international broadcast business, enterprise technology and broadcast operations and engineering, leveraging synergies between the business segments to drive higher growth. In this role, he will continue to report into the MD & CEO.

    • Leveraging his domain expertise and understanding of content production, strategy, movies acquisition and syndication, Umesh Bansal will lead the movies business for the company. In this role, he will report into the MD & CEO.
    • Anurag Bedi will continue to lead the music business and enhance the vertical’s contribution to the Company’s bottom-line. He will continue to report into the MD & CEO.

    All Corporate Functions will continue to report into the MD & CEO. The new structure is effective immediately.

    Said R Gopalan, Chairman, Zee said: “The Board has reviewed and approved the lean organisation structure proposed by the MD & CEO, which aims at streamlining the organisation and improving efficiencies across the business. The strong and capable set of leaders identified for each core business segment in the lateral structure, are highly reflective of the Company’s deep bench strength and ensure that the Company remains well-positioned for the future. We are confident that a lean team under the leadership of Punit, will enable the Company to achieve its set goals and priorities for the future, further generating higher value for the shareholders.”

    Added Goenka: “In line with our approach towards maintaining a sharp focus on profitability, the new structure encompasses a more resilient team for the organisation to ensure agility and collaboration. Through this restructuring exercise, our aim has been to build an independent and enterprising team led by an experienced set of leaders to drive the company forward. I look forward to working closely with the teams to chart robust growth and achieve our strategic priorities for the Company.”

  • Zee News onboards Rahul Sinha as Managing Editor

    Zee Media Corporation Limited (ZMCL) has onboarded journalist Rahul Sinha as theManaging Editor of Zee News.

    Said Abhay Ojha, CEO of Zee Media Corporation Limited, expressed his enthusiasm for Sinha’s return. He said: “Rahul Sinha’s appointment as Managing Editor heralds a new chapter of excellence for Zee News. His wealth of experience and proven track record in the industry will undoubtedly elevate our editorial standards and strengthen our position as a trusted news source. With Rahul at the helm, we are confident that Zee News will continue to uphold the highest principles of journalism.”

  • Are we set to redefine access and inclusion for cinema lovers?

    Are we set to redefine access and inclusion for cinema lovers?

    Screengrab from Pathan on Amazon Prime Video

    Shruti PushkarnaIn my last column, I featured two brilliant foreign films that dealt with the subject of disability in a sensitive as well as an entertaining manner. Moreover, persons with disabilities were truly represented and their challenges highlighted in both productions for mass consumption.

     

    Sticking to cinema, let’s circle back to India. Recently, three exciting events caught the attention of disability inclusion advocates. It’s been good news for people like me who keep pushing for better (if not equal) media access and representation.

     

    A President Awardee, an RJ and a person with vision impairment, Divya Sharma’s interview of Karan Johar at the Cinevesture International Film Festival in Chandigarh was widely shared across social media platforms. She asked some pertinent questions on the vision of Bollywood vis-à-vis inclusion of disabled folk, normalisation and the role of cinema in shaping mindsets, insensitivity and ridicule at the expense of persons with disabilities onscreen and more. The seven-odd-minute interaction between a visually impaired girl and a leading filmmaker and influencer will hopefully open up more opportunities of constructive exchange of ideas.

     

    You remember the SRK starrer ‘Pathan’ that made headlines even before its release? Yes, I’m referring to Deepika Padukone’s controversial orange bikini and the Besharam Rang song. A lawyer filed a complaint in Muzzafarpur district court of Bihar against the leading actors and the objectionable song that allegedly offended the sentiments of the Hindu community.

     

    We are familiar with the legal trajectory of that complaint as well as the political clamour in different states, seeking a ban on the film. But there was another case filed in the Delhi High Court against ‘Pathan’, which perhaps didn’t grab as much public attention.

     

    A visually impaired student at the National Law School, Bangalore filed a petition along with three other persons with disabilities, out of whom two are visually impaired practising lawyers and one is a hearing impaired professional working as the Executive Director of the National Association for the Deaf. The complaint highlighted the lack of equal access to audio-visual entertainment in theatres and on online streaming platforms.

     

    In response, the High Court issued an interim order directing the producer (Yash Raj Films) of Pathan to make the film accessible with audio description as well as subtitles and closed captions in Hindi before its release on the OTT platform (Amazon Prime Video). And after seven hearings, the court pronounced its final judgment on March 15, 2024, setting a new precedent for accessible cinema.

     

    Why is this case or judgment important? And what are these accessibility features?

     

    The Rights of Persons with Disabilities (RPWD) Act, 2016, includes a provision on media accessibility which states that the government must take measures to make electronic media accessible. In October 2019, an advisory was issued by the Ministry of Information and Broadcasting to the Central Board of Film Certification (CBFC) to persuade producers to make movies accessible. But this was hardly a mandate to ensure compliance. And so, nothing changed, up until now.

     

    The filmmaker, producers and the media fraternity are focused on the 99% able-bodied audience, insensitive to the needs of persons with disabilities. The cost of accommodation is misconceived, seen as an additional burden on the filmmaker. Imposition of access features are also arguably perceived to interfere with an average movie-goer’s cinematic experience. These arguments are a clear reflection of a lack of empathy and sheer ignorance that have led to a systemic exclusion of the disabled community from channels of mainstream entertainment.

     

    But with this recent judgment on Pathan, things are going to change. The judge also directed the other respondents/ stakeholders in the matter to work together and formalise standardised guidelines to ensure accessibility for all future productions. This means that the CBFC will need to include accessibility requirements in its certification process.

     

    As for the cost of providing accessibility features, Yash Raj Films incurred an additional expense of INR 6 lakh, a tiny drop in its Rs 1,000 crore ocean of earnings!

     

    As per Section 42 of the RPWD Act 2016, all persons with disabilities have an equal right to access information and communication technology. The government has to ensure that all content available in audio, print and electronic media are in accessible format. And that persons with disabilities have access to electronic media via audio description, sign language interpretation and close captioning.

     

    Audio Description is a verbal depiction of key visual elements in media and live productions, involving description of the visuals on screen to enable imagination by person with vision impairment.

     

    Subtitling provides a text alternative for the dialogues on screen, by characters, narrators, or any other vocal participants, in the language of the production.

     

    Closed Captioning not only supplements the dialogues but also other relevant parts of the soundtrack, describing background score, phones ringing, noises, or any other audio cues.

     

    The court has ordered for these accessibility features to be included on OTT as well as theater screenings. For now, the cinema halls and producers can work with certain mobile application providers (XL Cinema, Shazacin) which offer access to an audio described track that synchronizes on the user’s smartphone as the movie plays up on the big screen.

     

    And lastly, a movie trailer starring Rajkumar Rao as a visually impaired person flooded WhatsApp groups and LinkedIn feeds on April 9. Set to hit the cinema halls on May 10, this is a biopic of industrialist Srikanth Bolla, the first international blind student in management science at Massachusetts Institute of Technology. Srikanth endured several challenges, rejection and apathy in life, before he set up Bollant Industries with the objective of providing employment to others like him.

    Whether it’s bold activism, asking for equal access and a normal portrayal, ensuring compliance through workable measures or recounting real life struggles of successful persons with disabilities, the case for inclusion is strengthening by the day.

     

    What is preventing the media to initiate baby steps and add disability inclusion into its overall agenda?

  • Sony Yay! to air Shin-chan

    Sony Yay!, the the kids’ entertainment television channel from Sony Pictures (Culvert Max), is now home to the popular Shin-chan show.

    Said Leena Lele Dutta – Business Head Sony Yay!: “Sony Yay! has been consistently working towards building its rich ecosystem of #Happyverse. With its endearing characters that have created connect across the globe, we are excited to welcome Shin-chan to the Sony Yay! Family. We are confident that Shin chan’s charm and mischief will resonate with our viewers.”

    Added Maiko Sumida- Head of Animation Sales and Development, International Business Department, TV Asahi: “We are excited to partner with Sony Yay! And look forward to the comprehensive 360-degree footprint generation for Shin-chan. We look forward to further growing the Shin-chan brand in India through this collaboration.”

    It may be noted that while Super Hungama will continue to air Shin-chan episodes Sony Yay! will air the newer episodes. It’s set to start in mid-May.

  • Goafest 2024 & Abby Awards to be held in Mumbai

    Goafest 2024 & Abby Awards to be held in Mumbai

    If the Indian Premier League can happen in South Africa or the UAE, why can’t Goafest take place in Mumbai? Point, and the wise folk at the Adveritsing Agencies Association of India and The Advertising Club, have chosen to organise the 2024 edition of Goafest and the Abby Awards in Mumbai, from May 29 to 31. The venue: Westin Powai, the same place that plays host FICCI-Frames. And was earlier called Renaissance.

     

    The reason, as per a communique issued: the forthcoming Lok Sabha elections. The decision, conscious and collective as it has been described, is to host the 17th edition of the festival on the same dates that it was scheduled to happen in Goa. It may be noted Goafest will continue to be held in Goa in future, and this, as of now, is just a one-off.

     

    First let’s read the statements. Later, do read our two-bit.

     

    Said Prasanth Kumar, President of the Advertising Agencies Association of India (AAAI) and CEO of GroupM, South Asia in a communqiue: “We’re excited to announce that Goafest is happening in Mumbai this year, despite a few logistical challenges. Our collective decision reflects our unwavering commitment to this esteemed event, which has evolved into a cornerstone platform for shaping the future of our industry. It’s become a vital platform for industry, becoming a nexus where industry leaders converge to explore, innovate, and chart the course for a progressive journey. We’re committed to maximizing participation, curating insightful sessions, and ensuring attendees leave with invaluable knowledge. Plus, mark your calendars: Goafest returns to Goa in 2025! Join us for an unforgettable experience at Mumbai Goafest 2024!”

     

    The communique also adds Rana Barua, President of The Advertising Club and Group CEO of Havas India, South East and North Asia, as saying: “The Abbys has always been a platform dedicated to recognising and celebrating outstanding achievements in the advertising and marketing industry. We look forward to honoring the best work of 2023 at the Abby Awards Powered by One Show 2024 this May, in Mumbai. With Westin Powai as the venue we are working towards putting together a dynamic agenda that  will be announced in due course. We are grateful and thankful to the entire fraternity for their continued support and enthusiasm.”

     

    The agenda, speakers, the sessions and the all-important sponsors will be announced shortly.

     

    While all of this was what we gleaned from a communique issued on Friday morning, there’s a little more to what has been issued. According to the info we have received, a cross-section of the powers that be felt that it should perhaps be put off. Yes, no Goafest 2024. That was around the first week of April. When we heard about it and asked some of the Goafest top brass via WhatsApp, there was no clear affirmation or outright denial. However, what we were told was that talks were on to salvage the situation.

     

    For, Goafest and Abby are meant to be for/of/to/by the industry, and aren’t being organised for profit, save the salaries of the secretariat and build a reserve for the rainy day. The organiser-in-chief doesn’t buy a fancy car after the conduct of the festival. It’s meant to be community service. And of course access to some fun in the sun, and loads of booze in the closed confines of sunny Goa.

     

    This year, as per our information, there is a problem. The media economy is in bad shape. Look at the number of empty billboards on the Western Express Highway in Mumbai. With just so many days where no government ads happen due to the Election Code of Conduct, and this year twice over given elections in Maharashtra and elsewhere, it’s not exactly ‘achche din’ for media biggies, the primary sponsors of Goafest.

     

    Colors/Viacom18 has reduced its trade spends. The news channelwallahs (Aaj Tak was one of the main sponsors last year, Times Network before that) are too busy with the elections than humouring agency folk.

     

    Also, the entire advertising agency business is being rewritten. No longer is there enough money in the bag to fund aircraft-loads to Goa. Even if 50% was being paid by the employee.

     

    Net-net: there was pressure.

     

    Abracadabra! All of this can be eliminated if the event happens in Mumbai. Yes, the alcohol is expensive, but one can also ask the Delhi officefolk to airlift those five litres of liquids from Haryana.

     

    Plus the chances of marketing folk being present is very high, as that number is not really very significant when the event is held in Goa. With the event being in Mumbai, albeit in Powai, the likelihood of people doing the trek to Goafest is good.

     

    We tried to gauge the sentiment on the decision from some of our connects. While there is an overall happiness that it’s happening and is not cancelled, there is dismay that it means no official fun in Goa. They said you can’t do that in Mumbai.

     

    And what about all those floral shirts and shorts we bought for Goafest, one regular mused.

     

    Another point posed to us is that if the elections are the reason and since this is the 17th edition of the fest, why didn’t it get pushed to Mumbai all these years when there were elections. Hmmm.

     

    Well, right now the story is that Goafest 2024 (and Abby) are happening. We don’t know if that’ll mean Ogilvy will participate, but we do hope it does.

     

    Meanwhile, a few days before Goafest and Abby, the Zee-sponsored Kyoorius Creative Awards are scheduled to take place. The date is May 24. But that, as we are constantly reminded, is not organised by industry bodies.

     

    For more information on the festival, follow the Goafest handle at @goafestlive and for ABBY Awards Powered by One Show, follow The Advertising Club at @theadclubindia.

    Better still, read it all on MxMIndia.com.

     

    Entries for ABBY Awards Powered by One Show 2024 can be submitted at https://abbyawards.com/