A PROJECT REPORT ON

MARKETIN MIX IN ENTERTAINMENT SECTOR

SUBMITTED BY BRYAN SALDANHA T.Y.B.M.S. [Semester V]

SUBMITTED TO

UNIVERSITY OF MUMBAI
ACADEMIC YEAR

2012-13
PROJECT GUIDE

MRS. MELANIE ANDRADE

ST. ANDREWS COLLEGE BANDRA(W), MUMBAI - 400 050.

CERTIFICATE
I, Mrs. MELANIE ANDRADE, hereby certify that Mr. BRYAN SALDANHA of St. Andrews College of TYBMS [Semester V] has completed his project, titled MARKETING MIX IN ENTERTAINMENT SECTOR in the academic year 2012-13. The information submitted herein is true and original to the best of my knowledge.

___________ Signature of Project Guide

_____________ Signature of Coordinator

__________ Signature of Principal

_____________ Signature of External Examiner

DECLARATION
I, Mr. BRYAN SALDANHA, of St. Andrews College of TYBMS [Semester V] hereby declare that I have completed my project, titled MARKETING MIX IN ENTERTAINMENT SECTOR in the Academic Year 2012-13. The information submitted herein is true and original to the best of my knowledge.

____________________ Signature of Student [BRYAN SALDANHA]

ACKNOWLEDGEMENT
Feeling gratitude and not expressing it is like wrapping a present and not giving it. -Willim Arthur Ward I have great pleasure in expressing my deep sense of gratitude to my guide Mrs. Melanie Andrade for her valuable and prompt guidance, without which this project would not have been a successful one. I further thank her for lending a helping hand when it came to solving my problems related to the project. This project would not have been possible without her valuable time and support. I also thank The University of Mumbai for giving me an opportunity to undertake this project at this final stage of my Bachelors in Management Studies, which has helped me a lot to gain more knowledge about the current scenarios around me and boosted my morale and level of confidence over making a successful 200 Mark project. Last but not the least I extend my gratitude towards my parents, faculties and friends who extended their whole hearted support towards the successful completion of this Project Work. This project is an attempt to talk about the effectiveness of Entertainment marketing mix used as a part of the marketing tactics & stratergies used by the Companies/Production houses today to promote their MOVIES in not only the national, but also the worldwide.

EXECUTIVE SUMMARY
Everyday consumers are exposed to thousands of movies in television, newspapers magazines and on billboards, websites, radio. Every movie attempts to steal at least a fraction of a persons time and attention to inform him or her of the amazing and different attributes of the product/movies at hand. The challenge of the film producer is to find a hook that will hold the subjects attention .In helping to achieve this, use of marketing mix of movies is widely used. A marketing mix in entertainment is a special type of marketing which includes a Movie/Films marketing, promotions, distribution, marketing stratergies & tehqniques used to market & sell a particular film. It also includes famous person from film fraternity, who market their movies. It helps in promoting the movie and also increasing its sales . Marketing mix in entertainment sector has not developed in recent years, it is being used from the past for marketing, promoting, advertising & distributing its movies to a greater extent. This type of marketing strategy is used to promote the films/movies and has proved in itself a boon in entertainment world. Producers or production houses are treating marketing mix in entertainment sector as solution for all marketing problems for movies. Today, it is being frequently used for marketing all movies/films building exercises. The star appeal of the movie however needs to be intelligently and strategically mingled to reap the benefits on promotiong or marketing the movie and also

seeking the attention of the audience. It serves as an aid to accelerate a recall in the minds of the public and influence purchase decision. But it can also prove to be dangerous unless movies are accompanied by a powerful idea & effective marketing mix strtergies . A strong star power will result to a boon in movie marketing mix and good response to the movies The most important thing to remember is that putting a Famous celebrity actors/actresses in an movie and doing its marketing is not an idea in itself. Unfortunately, this is how marketing is being done in a enterainment industry to gain profits and, where they just become a prop. Ideally, there should be an idea that makes the marketing mix stratergies relevant to the people/audience.

INDEX
SR.NO 1 1.1 1.2 1.3 CONTENT Introduction Introduction to entertainment marketing
HOW DOES MARKETIN MIX IN ENTERTAINMENT SECTOR WORKS???

Page no

Films & television

2.1 2.2

Marketing movies Marketing bollywood movies Marketing techniques

3 3.1 3.2 3.3 4 4.1 4.2 4.3

Pricing strategy PRIMARY OBJECTIVE ANALYSE COMPETITORS PRICE MIX PRICING METHOD Films promotions Promotion techniques What is product placement?? Product placement in movies

5 5.1 5.2

Advertising films Posters and billboards advertising Advertising through film music Mobile advertising Celebrity advertising Films distribution Home entertainment distribution
Distribution Channels Satellite TV

6 6.1 6.2 6.3 6.4 7 7.1 6 8 8.1 8.2 7 8 9

Theatrical Distribution Multiplex industry WHAT IS A MULTIPLEX INDUSTRY?? GROWTH OF MULTIPLEX INDUSTRY DRIVEN BY MALLS Corporate film production What do you mean by a corporate film production?? Who is a corporate film producer?? 6Ps of bollywood marketing mix Current situation

RESEARCH METHODOLOGY
1. Objectives of research: To find out what marketing mix in entertainment sector and its applications in real world. To also understand the role of 6ps ie. (Product, price, place, promotion, process, people) of marketing in entertainment sector. 2. 3.

Research design:
Descriptive research design

Research instruments
Observation Interview

Introduction to entertainment marketing

Entertainment Marketing is one of the fastest growing elements within the marketing mix today. It helps create an emotional connection with your target audiences, keeping your brand relevant and generating tremendous results. It is also a discipline with a complicated history. It often resides with advertising agencies, media agencies, promotions agencies you name it, its been there. At MSLGROUP Entertainment, we strongly believe that the kinds of work we do in public relations from cutting edge digital work to top media relations programming to creative launches and campaigns complements entertainment marketing perfectly. We are able to pair our entertainment savvy with public relations to create strong, sustainable programs that produce award-winning results. The key to successful entertainment marketing programs lies in the relevance and connection between the brand and the entertainment proposition your target audience is passionate about. We focus on connecting clients brands to programs that make the most

sense for the brand, and developing ideas and plans for integrating the brand with the entertainment world. By using innovative thinking and unique processes, our team uses a 360 degree marketing approach to deliver holistic programs including elements like Web sites, on-pack promotions, in-store promotions, TV, media coverage, digital elements and more. We execute all kinds of entertainment-driven events, including product launches, media events and stunts, and deliver strong product and branded messages with top entertainment media. Entertainment Marketing is a process that includes many facets of marketing. It includes the different aspects of traditional marketing that we see every day. Some of these aspects include sports marketing, branding, public relations, endorsements, digital marketing, and social media marketing. You see entertainment marketing is not limited to one specific method; it is a form of marketing that includes many different strategies and techniques. People will utilize marketing platforms to create exposure for up and coming stars in the entertainment world, including actors, independent film directors, fashion designers, and music artists, these platforms include fashion marketing, film promotion, and social media marketing. Marketing in general allows all these professions to reach out and connect to their target audience. It is necessary to stay up to date with various marketing techniques if you wish to stay competitive in the entertainment industry and reach the next level of success and exposure. Overall these sorts of techniques will allow you to expose oneself and connect with their respective audience.

How does one perform Entertainment Marketing?

There is a variety of strategies when it comes to practicing entertainment marketing. Typical techniques that are used for marketing include endorsements, media coverage, and branded products. These methods are still in use today, but digital media marketing and social media marketing are now becoming the focus for modern marketing techniques. The process to carry out this type of marketing usually starts with identifying a set of goals as well as brainstorming ideas on how to meet those goals and market your brand. After setting goals we would start to produce the tools necessary to meet those goals. These tools include setting up a brand identity, reaching out to prospective audiences, creating the social media regarding our brand. After we have everything in place we would launch all our set tools and begin reaching out to our audience and making a name for you. It is important for that you know your goals and connect on a deeper more personal level with your target audience in order to be successful.

Entertainment Marketing Success Stories

Examples of inventive entertainment marketing date back through the last century, but there are some recent examples that attest to the power of marketing, specifically in

social media. One example that occurred over a decade ago was the marketing campaign and film promotion of the movie: Blair Witch Project. Blair Witch Project created a website for their movie that included ambiguous details about the movie that made you question whether the movie and mythology behind it was real or not. It was backed by realistic photos and short clips that made viewers think the story of the Blair Witch Project was real. Even back in 1999 the movies website and method of film promotion went viral and marketing campaign was a huge success. For more information on film promotion check out our article on The Art of Film Promotion. Another success story that was the result of great entertainment marketing was Barack Obamas campaign in 2008. Barack Obama was able to get young adults and younger people to vote through the power of social media. He tapped into the major social mediums including millions of Facebook fans, a strong YouTube presence, and a vast emailing and text message chain. This utilization of digital marketing was crucial to Obamas campaign success and is a prime example of successful social media marketing.

Hiring a Entertainment Marketing Company

If youre like most people in the entertainment business, trying to lay out an intricate entertainment marketing plan could seem too big of a task to accomplish alone. The marketing of your brand can consume a lot of time and is essential to your own brands success and exposure It may interest you to hire a marketing company such as VERVE Management to help out with your current marketing team or take over and manage the whole entertainment marketing process. We encourage this because we can guarantee positive exposure and results from our team of specialists who will bring success and exposure for your brand.

Introduction to marketing mix in entertainment sector/HOW DOES MARKETIN MIX IN ENTERTAINMENT SECTOR WORKS???
From lights and camera, the action seems to be shifting to segmenting, targeting, and positioning. With more than 800 films a year being produced in India every year, you have to shout to be heard. Especially if you want to be, as management guru Peter Drucker would put it, 'the fustest with the mostest'. With product differentiation reaching all-time lows, 'inspired' filmmakers need to look at the other Ps of marketing -- pricing, place, and promotion -to find themselves a USP.

Pricing and distribution are not as effective as promotion, which has forced producers and directors to think out of the box. And they have quite literally moved from the conventional idiot box to newer formats, from websites to mobile telephony. Yes, savvy moviemakers have woken up to the inevitable retailing truth: out of sight is out of mind. So they aim to get you anywhere they can. They are pulling out all the stops from the conventional radio spots to modern SMS campaigns and 360 degree branding to make sure you sit up, notice, and buy in. With entities like indiatimes.com, hungama.com, and Linentertainment entering the fray with dedicated film marketing and promotion divisions, the going's getting tougher. It doesn't come cheap either. "Though the value of the promotions varies according to what each party brings to the table, even the simplest mobilebased campaign would commence in the range of Rs 1 million. But because you are reaching out to over a million people directly, such campaigns are well worth the cost," says Siddhartha Roy of hungama.com

Film marketing division offers you state of art facilities to market your film. When a new film is made, it has to be advertised like any other new product, to let people know it exists and to encourage them to go to the theaters to see it. The advertising of a film is known as a film marketing. The way in which a film is promoted can have a huge effect on whether or not it is successful. Films are expensive to make and if the public do not buy tickets at the box office to see the film, a lot of money will be lost. We can market your films and plan a promotional campaign for your project, release promos on Television and use other successful mediums so that your film can reach to the right audience.

FILM & TELIVISION

Approach Entertainment is a name to reckon with amongst leading film and television production houses in India. We firmly believe film production is a form of art, that uses stars, dialogues, and songs to convey a message, or just provide pure entertainment. Our highly proclaimed teams ensure that the concept or the plain idea of the film is absorbed first, before other aspects are considered. Many companies also offer contract film production services in India and abroad. Ad films have also come to gain a very immaculate space in our lives. An impressionable few hours,

minutes, and even seconds is enough for the public to make way for new priorities and preferences. A sound rapport with national and international bureaucracy and a complete know how of all terms and regulations, gives us an edge over the crowd of film production services companies. Commercial films make up for most of the business, and since the profit returns are huge, we ensure that the publicity is mixed with the right dose of buzz in order to generate an addendum effect. Celebrity MC

Television in India
Television in India is a huge industry which has thousands of programmers in many languages. The small screen has produced numerous celebrities, some even attaining national fame. TV soaps are extremely popular. Approximately half of all Indian households own a television.[1] As of 2010, the country has a collection of free and subscription services over a variety of distribution media, through which there are over 515 channels of which 150 are pay channels.[2] According to Pioneer Invest corp, the Indian cable industry is worth 270 billion (US$4.91 billion) and is the third largest in the world after television in the People's Republic of China and television in the United States. The number of TV homes in India grew from 120 million in 2007 to 148 million in 2011. Cable reaches 94 million homes with 88 million analog connections and 6 million digital ones, while DTH has commanded 41 million subscribers.

History
Terrestrial television in India started with the experimental telecast starting in Delhi on 15 September 1959 with a small transmitter and a makeshift studio. The regular daily transmission started in 1965 as a part of All India Radio. The television service was extended to Bombay (now Mumbai) and Amritsar in 1972. Up until 1975, only seven Indian cities had a television service. Television services were separated from radio in 1976. National telecasts were introduced in 1982. In the same year, colour TV was introduced in the Indian market. Indian small screen programming started off in the early 1980s. At that time there was only one national channel Doordarshan, which was government owned. The Ramayana and Mahabharata (both Indian spiritual & mythological stories) were the first major television series produced. This serial notched up the world record in viewer ship numbers for a single program. By the late 1980s more and more people started to own television sets. Though there was a single channel, television programming had reached saturation. Hence the government opened up another channel which had part national programming and part regional. This channel was known as DD 2 later DD Metro. Both channels were broadcast terrestrially. PAS-1 and PAS-4 are satellites whose transponders help in the telecasting of DD programmers in half the regions of the world. An international channel called DD International was started in 1995 and it telecasts programmers for 19 hours a day to foreign countries-via PAS-4 to Europe, Asia and Africa, and via PAS-1 to North America. TV Programs: The eighties was the era of Doordarshan with shows like Hum Log (1984), Buniyaad (198687) and comedy shows like Yeh Jo Hai Zindagi (1984), Mythological dramas like Ramayan (198788) and Mahabharat (198990) glued millions to Doordarshan and later on Bharat Ek Khoj, The Sword of Tipu Sultan and Chandrakanta. Hindi film songs based programs like Chitrahaar, Rangoli, Superhit Muqabla crime thrillers like Karamchand, Byomkesh Bakshi. Shows targeted at children include Dada Dadi ki Kahaniyan, Vikram Betal, Malgudi Days, Tenali Rama.

Television channels and networks

The central government launched a series of economic and social reforms in 1991 under Prime Minister Narasimha Rao. Under the new policies the government allowed private and foreign broadcasters to engage in limited operations in India. This process has been pursued consistently by all subsequent federal administrations. Foreign channels like CNN, STAR TV and private domestic channels such as Zee TV, ETV and Sun TV started satellite broadcasts. Starting with 41 sets in 1962 and one channel, by 1995, TV in India covered more than 70 million homes giving a viewing population of more than 400 million individuals through more than 100 channels. There are at least five basic types of television in India: broadcast or "overthe-air" television, unencrypted satellite or "free-to-air", Direct-to-Home (DTH), cable television, and IPTV. Over-the-air and free-to-air TV is free with no monthly payments while Cable, DTH, and IPTV require a monthly payment that varies depending on how many channels a subscriber chooses to pay for. Channels are usually sold in groups or a la carte. All television service providers are required by law to provide a la carte selection of channels.

Broadcast Television
Broadcast television is monopolised by the Indian Government through state-owned Prasar Bharati Corporation, with the Doordarshan group of channels being the only broadcaster. As such, cable television is the primary source of TV programming in India.

Cable television
As per the Annual Universe Update - 2010, India now has over 134 million households (out of 223 million) with television sets, of which over 103 million have access to Cable TV or Satellite TV, including 20 million households which are DTH subscribers. In Urban India, 85% of all households have a TV and over 70% of all households have access to Satellite, Cable or DTH services. TV owning households have been growing

at between 8-10%, while growth in Satellite/Cable homes exceeded 15% and DTH subscribers grew 28% over 2009. (However, some analysts place the number of households with television access at closer to 180 million since roughly a third of all rural families may watch television at a neighboring relatives home, and argue that Cable TV households are probably closer to 120 million owing to a certain percentage of informal/unregistered Cable Networks that aren't counted by mainstream surveys). It is also estimated that India now has over 500 TV channels covering all the main languages spoken in the nation. In 1991, the Indian government led by P. V. Narasimha Rao started a series of economic reforms including the liberalization of the broadcasting industry, opening it up to cable television. This led to an explosion in the Indian cable TV industry and saw the entry of many foreign players like Rupert Murdoch's Star TV Network, MTV and others. Star TV Network introduced five major television channels into the Indian broadcasting space that had so far been monopolised by the Indian government-owned Doordarshan: MTV, STAR Plus, Star Movies,BBC, Prime Sports and STAR Chinese Channel. Soon after, India saw the launch of Zee TV, the first privately-owned Indian channel to broadcast over cable followed by Asia Television Network (ATN). A few years later CNN, Discovery Channel amd National Geographic Channel made their foray into India. Later, Star TV Network expanded its bouquet with the introduction of STAR World India, STAR Sports, ESPN, Channel V and STAR Gold. With the launch of the Tamil Sun TV (India) in 1992, South India saw the birth of its first private television channel. With a network comprising more than 20 channels in various South Indian languages, Sun TV network recently launched a DTH service and its channels are now available in several countries outside India. Following Sun TV, several television channels sprung up in the south. Among these are the Tamil channel Raj Television and the Malayalam channel Asia net, both launched in 1993. These three networks and their channels today take up most of the broadcasting space in South India. In 1994, industrialist N. P. V. Ramasamy

Conditional Access System

CAS or conditional access system, is a digital mode of transmitting TV channels through a set-top box (STB). The transmission signals are encrypted and viewers need to buy a set-top box to receive and decrypt the signal. The STB is required to watch only pay channels. The idea of CAS was mooted in 2001, due to a furore over charge hikes by channels and subsequently by cable operators. Poor reception of certain channels; arbitrary pricing and increase in prices; bundling of channels; poor service delivery by Cable Television Operators (CTOs); monopolies in each area; lack of regulatory framework and redress avenues were some of the issues that were to be addressed by implementation of CAS It was decided by the government that CAS would be first introduced in the four metros. It has been in place in Chennai since September 2003, where until very recently it had managed to attract very few subscribers. It has been rolled out recently in the other three metros of Delhi, Mumbai and Kolkata. As of April 2008 only 25 per cent of the people have subscribed the new technology. The rest watch only free-to-air channels. As mentioned above, the inhibiting factor from the viewer's perspective is the cost of the STB.

Digital switchover
The Ministry of Information and Broadcasting issued a a notification on 11 November 2011, setting 31 March 2015 as the deadline for complete shift from analog to digital systems. Digitization, on cable and terrestrial, will be carried out in four phases, in a 3-year transition starting from 31 October 2012, and finishing on 31 March 2015. The four metros of Delhi, Mumbai, Kolkata and Chennai have to shift to digital addressability by 31 October 2012.[4] The second phase will include 38 cities in 15 states, such as Patna, Chandigarh, Pune and Bangalore by 31 March 2013. All urban areas are expected to digitize by 30 November 2014 and the remaining areas by 31 March 2015.

Cinema of India
The cinema of India has had a profound effect on cinema across the world since the early 20th century. It consists of films produced across India, which includes the cinematic cultures of Andhra Pradesh, Assam, Bihar, Gujarat, Haryana, Jammu and Kashmir, Karnataka, Kerala, Maharashtra, Manipur, Orissa, Punjab, Tamil Nadu, Uttar Pradesh and West Bengal. Indian films came to be followed throughout Southern Asia, the Greater Middle East, Southeast Asia, and the former Soviet Union. The cinema as a medium gained popularity in the country as many as 1,000 films in various languages of India were produced annually. In the 20th century, Indian cinema, along with the Hollywood and Chinese film industries, became a global enterprise. At the end of 2010 it was reported that in terms of annual film output, India ranks first, followed by Hollywood and China.[ Enhanced technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which content reached the target audience. Visual effects based, Super hero and Science fiction films like Krrish, Enthiran, Ra.One and Eega emerged as blockbusters. Indian cinema found markets in over 90 countries where films from India are screened. Films by Indian directors like Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Adoor Gopalakrishnan, G. Aravindan, Shaji N.Karun, Girish Kasaravalli, Shyam Benegal and Mani Ratnam have been screened in various international film festivals. Other Indian filmmakers such as Shekhar Kapur, Mira Nair, Rajnesh Domalpalli, Deepa Mehta, Nagesh Kukunoor and Karan Johar have also found success overseas. The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country's Film Producers Guild sent similar missions through Europe. Sivaji Ganesan, and S. V. Ranga Rao won their respective first international award for Best Actor held at Afro-Asian Film Festival in Cairo and Indonesian Film Festival in Jakarta for the films Veerapandiya Kattabomman and Narthanasala in 1959 and 1963. India is the world's largest producer of films. In 2009, India produced a total of 2961 films on celluloid, that include a staggering figure of 1288 feature films. The provision of 100% foreign direct investment has made the Indian

film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures and Warner Bros. Indian enterprises such as Zee, UTV, Suresh Productions, Adlabs and Sun Network's Sun Pictures also participated in producing and distributing films. Tax incentives to multiplexes have aided the multiplex boom in India. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India, making the commercial presence of the medium felt. The South Indian film industry defines the four film cultures of South India as a single entity. They are the Kannada, the Malayalam, the Tamil and the Telugu industries. Although developed independently for a long period of time, gross exchange of film performers and technicians as well as globalization helped to shape this new identity, currently holding 75% of all film revenues in India.

History
Following the screening of the Lumire moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the Lumire films had been in show in Bombay (now Mumbai). The first short films in India were directed by Hiralal Sen, starting with The Flower of Persia (1898). The first Indian movie released in India was Shree pundalik a silent film in Marathi by Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai. Torne is also considered as a Father of Indian Cinema. The first full-length motion picture in India was produced by Dadasaheb Phalke, Dadasaheb is the pioneer of Indian film industry a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. The first Indian chain of cinema theaters was owned by the Calcutta entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the Indian subcontinent. In 1927, the British Government, in order to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians,

led by T. Rangachari, a Madras lawyer. This committee failed to support the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry. Their suggestions were shelved.

Devika Rani and Ashok Kumar in Achhut Kanya (1936). The Indian Masala filma slang used for commercial films with song, dance, romance etc.came up following the second world war. South Indian cinema gained prominence throughout India with the release of S.S. Vasan's Chandralekha. During the 1940s cinema in South India accounted for nearly half of India's cinema halls and cinema came to be viewed as an instrument of cultural revival. The partition of India following its independence divided the nation's assets and a number of studios went to the newly formed Pakistan. The strife of partition would become an enduring subject for film making during the decades that followed. The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. A number of realistic IPTA plays, such as Bijon Bhattacharya's Nabanna in 1944 (based on the tragedy of the Bengal famine of 1943), prepared the ground for the solidification of realism in Indian cinema, exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal (Children of the Earth) in 1946. The IPTA movement continued to emphasize on reality and went on to produce Mother India and Pyaasa, among India's most recognizable cinematic productions.

Modern Indian cinema

Some filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s, alongside Satyajit Ray, Ritwik

Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun, John Abraham and G. Aravindan in Malayalam cinema; Nirad Mohapatra in Oriya cinema; and Mani Kaul, Kumar Shahani, Ketan Mehta,Govind Nihalani and Vijaya Mehta in Hindi cinema. However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema. The 1970s did, nevertheless, see the rise of commercial cinema in form of enduring films such as Sholay (1975), which solidified Amitabh Bachchan's position as a lead actor. The devotional classic Jai Santoshi Ma was also released in 1975. Another important film from 1975 was Deewar, directed by Yash Chopra and written by Salim-Javed. A crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler Hajji Mast an", portrayed by Amite Bachchan, it was described as being absolutely key to Indian cinema by Danny Boyle. 1979 Telugu film, Sankarabharanam, which dealt with the revival of Indian classical music, has won the Prize of the Public at the Besancon Film Festival of France in the year 1981. 1987 Kannada film, Tabarana Kathe, which dealt with the inadequate governance, was screened at various film festivals including Tashkent, Nantes, Tokyo, and the Film Festival of Russia. Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala regarded as one of the best Indian film genres experienced its own 'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun. Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir, directed some of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film Festival. Commercial Hindi cinema further grew throughout the 1980s and the 1990s with the release of films such as Ek Duuje Ke Liye (1981) Mr India (1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988),Chandni (1989), Maine Pyar Kiya (1989), Baazigar (1993), Darr (1993), Dilwale Dulhaniya Le

Jayenge (1995) and Kuch Kuch Hota Hai (1998), many of which starred Shahrukh Khan, Aamir Khan and Salman Khan. In the late 1990s, 'Parallel Cinema' began experiencing a resurgence in Hindi cinema, largely due to the critical and commercial success of Satya (1998), a low-budget film based on the Mumbai underworld, directed by Ram Gopal Varma and written by Anurag Kashyap. The film's success led to the emergence of a distinct genre known as Mumbai noir, urban films reflecting social problems in the city ofMumbai. Later films belonging to the Mumbai noir genre include Madhur Bhandarkar's Chandni Bar (2001) and Traffic Signal (2007), Ram Gopal Varma's Company (2002) and its prequel D (2005), Anurag Kashyap's Black Friday (2004), Irfan Kamal's Thanks Maa (2009), and Deva Katta's Prasthanam (2010).

Influences

Prasads IMAX Theatre houses atHyderabad, one of the largest IMAX-3D in the world (along with the world's largest in Sydney, Australia).

Ramoji Film City, holds Guinness World Record as the world's largest integrated film studio.[114]

PVR Cinemas in Bangalore is one of the largest cinema chains in India There have generally been six major influences that have shaped the conventions of Indian popular cinema. The first was the ancient Indian epics of Mahabharata andRamayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story.

The second influence was the impact of ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit(dance), characterizing them as spectacular dance-dramas which has continued in Indian cinema. [115] The Rasa method of performance, dating back to ancient Sanskrit drama, is one of the fundamental features that differentiate Indian cinema from that of the Western world. In the Rasa method, empathetic "emotions are conveyed by the performer and thus felt by the audience," in contrast to the Western Stanislavski method where the actor must become "a living, breathing embodiment of a character" rather than "simply conveying emotion." The rasa method of performance is clearly apparent in the performances of popular Hindi film actors like Amitabh Bacchan and Shahrukh Khan, nationally acclaimed Hindi films like Rang De Basanti (2006)] and internationally acclaimed Bengali films directed by Satyajit Ray. The third influence was the traditional folk theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu. The fourth influence was Parsi theatre, which "blendedrealism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse ofmelodrama. The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction.

Marketing movies-Bollywood
Approach Entertainment has designed an integrated movie marketing model, thus emerging as a leading Entertainment Marketing Agency in India. The team with us has an understanding that the entertainment media in India is highly complex and fragmented, with bilingual projects, and though such films compete with each other in certain given segments, they also come to enjoy great domination in certain others. This understanding makes us view each project as a competitor, and a dominant player, and our strategies make use of the best points of both these sides of the project. Innovative and new ideas form the base of our film publicity modules, where we believe that marketing a movie is all about creating an identity in the mind of the audience. With almost two or three movies hitting the theatres each Friday, we understand that only a distinct approach will register a project in the minds of the audience, and get them to the theatres. We make use on in film promotions, in film advertising, digital marketing in an effective way to make a space in the cluttered market. Our teams believe that the movie stays on in the minds of the audience not in the lines on the hero and the heroine leading a happy life ever after, but in the shapes of coffee mugs, T-shirts, etc, and we design up market merchandising material based on the films story line, so that the film occupies a permanent place in the living areas of the audiences. We make use of star power and chalk out interaction based strategy plans for film marketing in unique style. Star appearances, brandings, making of, radio and TV contests where the prizes involved are personal meetings with the stars etc. attracts the common man to come and watch the movie. We encash this desire of the general public of being associated with stardom and design creative contests and genuine shows, thus pioneering in the list of the film event management companies in India. We value our propositions with brands, and these propositions have made us a leading brand placement agency in India. We ensure that the movie and the brand target the same set of audience, and our experts figure this out by working out various permutations and combinations. We make use of an all time effective cross

promotional strategy in films, involving two or more brands promoting a project in such innovative ways that it benefits all the involved partners. A dedicated and specialised team with us takes care of the films public relations, by the means of blogging, internet marketing, and even designing digital games. Social networking sites provide excellent platform for film publicity, and so does internet release of clippings. Trends have it that most of the movie goers first surf the internet for the story line and then head to the theatres. We master in the technique of generating curiousness, and our clients benefit from the same.

Marketing Techniques

In theaters
Trailers are a mainstay of film promotion, because they are delivered directly to movie-goers. They screen in theatres before movie showings. Generally they tell the story of the movie in a highly condensed fashion compressing maximum appeal into two and half minutes. Film posters Slideshows - stills, trivia, and trivia games from the film, shown between movie showtimes. Standees (freestanding paperboard life-size images of figures from the film) Cardboard 3D displays, sometimes producing sound

Television and radio

Hollywood movie distributors spend about $4 billion a year to buy paid advertising (30-second TV commercials, newspaper ads, etc.) and over half that total is placed on broadcast and cable TV, which are the main vehicles for advertising movies to audiences. TV is effective because it is an audiovisual medium like film and can deliver a vast audience quickly, which is crucial because films typically dont linger in theaters more than 46 weeks, according to Marketing to Moviegoers: Second Edition.

Product placement: paid active or passive insertion (as on-set posters, and action figures) of film brand in drama or sitcom shows, or as passing mentions in dialogue. For example, 20th Century Fox commissioned an I, Robot-themed motorcycle, featured on two episodes of American Chopper. The film Memoirs of a Geisha was placed throughout an episode of the TV show Medium. Extended placement: full episodes of television talkshows (Oprah), entertainment news programs (ET), or network news programs (20/20), devoted to compensated exposure of the film, stars, clips, director, etc. In addition, interviews with actors and directors which are filmed en masse at a hotel with local and national entertainment reporters which are featured on local news shows, programs on cable networks, and series such as Byron Allen's series of entertainment series like Entertainment Studios. Production and paid broadcast of behind-the-scenes documentary-style shows, the type of which are mainly produced for HBO, Showtime, and Starz Advance trailers, longer previews, or behind-the-scenes footage on rental videos and DVDs

Internet
Virtual relationship hyperlink marketing (psycho-associative mental correlation links), wherein a major search engine (like Yahoo's main page) offers articles seemingly presenting interesting news related items, but which are actually back-end loaded with a links page containing multiple "mental references" to film characters, storylines or products. Example: Bond, Transformers, etc..., are connected to scientific invention news stories about advanced weaponry or robotics discoveries, which quickly leads the reader to pages loaded with the latest 007 or Megatron movie clip or art director's fantastical ideas and designs, thus hooking readers with a "bait and switch" story. Creation of standalone studio-sponsored per-film websites such as "example-the-movie.com".

Online digital film screeners: These digital film screeners have the benefit of letting you send individual copies of your film or a promo to the press, sales agents, distributors etc. Using them its simple to send individually controlled copies of your film to various recipients with different expiry dates. Along with the security of individual expiry dates, you can see reports of who viewed your film and track their viewing of the film. Viral marketing: free distribution of trailers on movieoriented websites and video user-generated-content websites, and rapid dissemination of links to this content by email and blogs. Includes alleged leakage of supposed "rushes" and "early trailers" of film scenes.[4] Sometimes, the efforts go further such as in the lead time to the successful premiere of the film, The Muppets which was preceded by several original film shorts on YouTube over a number of years while the film was in production.

Creation of Internet Marketing campaign using Paid Advertisement and Social Media Marketing

Print
Paid advertisement in newspapers, magazines, and inserts in books. Cross-promotion of original book or novelization, including special printings, or new cover jackets ("Now a major motion picture.") Comic special editions or special episodes

Merchandising
Paid co-branding (Eragon in American Chopper-two episodes), or coadvertising (Aston Martin and James Bond films)[5] of a product with the film Promotional giveaways: branded drink cups, toys, or food combinations at fast food chains

Promotional tour

Film actors, directors, and producers appear for television, radio, and print media interviews, sometimes showing a clip from the film or an outtake. Interviews are conducted in person or remotely. During film production, these can take place on set. After film release, key personnel make appearances in major market cities or participate remotely via "satellite" or telephone.

Audience research
There are seven distinct types of research conducted by film distributors in connection with domestic theatrical releases, according to "Marketing to Moviegoers: Second Edition." Such audience research can cost $1 million per film, especially when scores of TV advertisements are tested and retested. The bulk of research is done by major studios for the roughly 170 major releases they mount each year that are supported by tens of millions of advertising buys for each film. Independent film distributors, which typically spend less than $10 million in media buys per film, dont have the budget or breadth of advertising materials to analyze, so they spend little or nothing on pre-release audience research. When audience research is conducted for domestic theatrical release, it involves these areas: Positioning studies versus other films that will premiere at the same time. Test screenings of finished or nearly finished films; this is the most well known. Testing of audience response to advertising materials. Tracking surveys of audience awareness of a film starting six weeks before premiere. Exit surveys questioning film goers about their demographic makeup and effectiveness of marketing. Title testing in an early stage. Concept testing that would occur in development phase of a film before it is produced.

PRICING STRATEGY
PVR CINEMAS Priya village road show, popularly known as PVR is the pioneer in establishing the theater system in India. PVR started its operations in the year 1998 and redefined the way movie service provided in India. It is the first Indian company that corporatized the theater system. Till then theaters were owned by the individuals. PVR knew that establishing multiplexes alone cannot help it to expand. Therefore it started an innovative idea of holding the theaters and screens.
PRIMARY OBJECTIVE:

Pricing a movie ticket is a complex issue. PVR believed in providing high quality movie experience at an affordable price. Its objectives: 1. Increase profits.

2. 3. 4. 5. 6.

Attract new customers. Maintain current customers. Increase profit per customer. Generate cash. Improve ROI.

ANALYSE COMPETITORS PRICE MIX:

We have compared Pars pricing strategies with other multiplexes. In multiplexes, tickets are priced depending on perceptions such as brand value of movies. While in PVR, lifestyle concepts like Gold Class where tickets are priced at Rest. 500 because benefits include ultra-reclining seats in addition to exclusive butler services. The price quoted by PVR on weekends and on weekdays clearly depicts that it is targeting high earning people as they can afford such prices on weekends... and on the other hand that is on weekdays it is targeting students, low income people, retired people

PRICING METHOD:

Skimming Pricing Method & Penetrating Pricing Method: The pricing strategy adopted here is a skimming price strategy. PVR had a clear cut picture of what kind of services to be provided to customers. Since they had a unique way of interaction with their customers, they had to incur heavy costs in implementing this strategy of high price. So, its worth paying such price for tickets in Perth pricing strategy adopted by PVR is skimming the market on weekends and penetrating the market on weekdays.

SELECT FINAL PRICE:

PVR restructured its business model and divided its services into PVR premier and PVR theater. The comfort and hospitality provided in these two formats vary. PVR Forum Mall Theater in Bangalore divided its theater into three divisions. They are; classic, Europe and gold class. The prices of the

ticket of these three categories on weekends are Rest 200, Rs350, and Rest 500 respectively for Hindi and English movies. The price per ticket for the Kannada movies varies as the company gets tax sops from the Karnataka government. It charges Rest 80 to Rs 150. The price of the ticket in the weekdays will vary in the classic and Europa sections to attract more number of consumers. The price of the gold class remains same. The company realized that numbers of movie goers in the morning are less. It reduced the price of classic and Europa to Rs 80 till 12 noon on weekdays where as gold class price remains as it is. The gold class price is having two components. Out of Rs 500 charged Rs 350 is considered as movie ticket price and Rs 150 is used to provide snacks to the consumers.

Film budgeting
Film budgeting refers to the process by which a line producer, unit production manager or filmmaker prepares a budget for a film production. This document, which could be over 150 pages long, is used to secure financing for the film and lead to pre-production and production of the film. Multiple drafts of the budget may be required to whittle down costs. A budget is typically divided into four sections: above the line (creative talent), below the line (direct production costs), post-production (editing, visual effects, etc.), and other (insurance, completion bond, etc.). Film financing can be acquired from a private investor,sponsor, product placement, a film studio or entertainment company, or out of pocket funds.

Elements
Story rights: The right to produce a film based on a play, novel, video game or as a remake or sequel can cost anything from a couple of thousand (Leaving Las Vegas) to over $10 million (the video gameHalo). An original screenplay by a Writers Guild of America member can cost from around $50,000 (Quentin Tarantino's True Romance) to $5 million (M. Night Shyamalan's Unbreakable). Screenplay: An A-list screenwriter can be paid 100,000 to 2 million to write a script, including $400,000 a week for each rewrite of a film in trouble,[1] script doctors may be called upon to revise the final draft at $100,000 to $200,000 a week. Recently, Columbia Pictures has been offering the best screenwriters 2 percent of the gross profits (after the production and marketing budget has been deducted). Producers: Film producers and executive producers are often wellpaid, with a top producer earning a seven-figure salary upfront as well as bonuses and a share of the profits. For Spider-Man, producerLaura Ziskin is estimated to have been paid over $30 million. Director: The DGA minimum is about $16,800 a week, for a minimum of ten weeks' work.[2] An A-list film director can command $5 to $10 million a film.

Cast: While the bulk of the cast gets usually paid by the Actors Guild standard rate of about 2300 US$ per week,[3] famous and bankable film stars can demand fees up to $30 million per film, plus perks (trailer, entourage, etc.) and possible gross participation.[4] Sometimes an actor will accept a minimal fee in exchange for a more lucrative share of the profits. Union extras are paid around $130 per day (plus extra for overtime or if they provide their own wardrobe) but on a low-budget film non-union extras are paid less, sometimes nothing at all. Production costs: The cost of producing the film includes crew wages, production design, live set and studio costs, costumes, catering, accommodation and transportation. The director of photography is usually the highest paid member of the crew at about $500,000 to $1 million. Visual effects: The cost of Computer-generated imagery effects and other visual effect work in post-production depends largely on the amount of work, the desired quality, and the effects company involved (Industrial Light and Magic being the most prestigious and expensive); extensive effect work, as in Avatar or The Lord of the Rings can easily cost up to a hundred million dollars. Music: The top film composers can ask for a seven-figure salary to compose an hour or so of original film score. An original song by Christina Aguilera (Shark Tale) or Kanye West (Mission: Impossible III) could cost $1 million, and the right to use a song by David Bowie or The Beatles cost $300,000. (In addition, the artist may wish to see a screening of the film to see if it meets their approval; Bowie did so with the film Training Day, giving the film a good amount of pre-release publicity.). More recently, the rights to have Led Zeppelin's "Whole Lotta Love" on the film Lords of Dogtown cost producers $3 million. Sometimes a film will turn to unknown or little-known artists willing to licence the rights to their song for a small fee in exchange for the publicity. Typically, the music budget of a major motion picture is about 8 percent of the final total; Spider-Man's music budget was $4.5 million.

Tactics for cutting costs

Eliminate night scenes. Shooting at night requires powerful/expensive lighting and the payment of nighttime rates to the crew. Broken Arrow cut costs by millions of dollars by getting rid of the night scenes from the script. Many directors choose to use the 'day for night' technique. Avoid location filming in famous or commercial areas. Shooting a scene on, for example, the Golden Gate Bridge, requires stopping traffic with a resultant drop in revenue to the city of San Francisco. Filming such a scene for Interview with the Vampire cost Warner Bros. $500,000. Shifting the location to the San Francisco-Oakland Bay Bridge for close-ups could save hundreds of thousands of dollars in location fees. Some locations are more willing to allow filming than others - commercial enterprises such as hotels and nightclubs. Some producers of low-budget features avoid paying location fees and seek to capture shots by subterfuge. Film action scenes early on Sunday morning. Stopping traffic for a car chase scene is easier in the early hours of Sunday morning, when traffic is at its lightest. Use unknown cast members rather than stars. Ask above-the-line talent to defer their salaries. In exchange for dropping their large upfront salaries, actors, directors and producers can receive a large share of the film's gross profits. This has the disadvantage of cutting the financier's eventual takings. It has the further disadvantage of ambiguity. In the case of net profit participation instead of gross profit participation, disagreements due to Hollywood accounting methods can lead to audits and litigation, as happened between Peter Jackson and New Line Cinema, after New Line claimed that Lord of the Rings film trilogy, which grossed over 2 billionUSD failed to make any profit and thus denied payments to actors, the Tolkien estate and Jackson. Use a non-union crew. Not an option for studios that have signed contracts with the unionsthe Directors Guild of America (DGA), Writers Guild of America (WGA), and Screen Actors Guild (SAG). Directors Robert Rodriguez and Peter Jackson have been known to use the skills of experienced non-union crews for their films.

Film in another region. For example, many Hollywood movies set in U.S. cities are shot in Canada to take advantage of lower labour costs, subject to fluctuating exchange rates. As well, they take advantage of federal and provincial subsidies designed to grow and sustain the film and television production industries in the area. Many U.S. states have responded with tax incentives of their own (Movie production incentives in the United States). The Czech Republic, Germany, Australia, and New Zealand are other countries in which Hollywood movies are often filmed.

The budget as an advertising tool

For blockbuster movies, high budgets are advertised to imply that the film will be worth watching. On the other hand, El Mariachi was advertised as having a shoestring budget of $7,000. El Mariachi's actual budget including the distribution costs far exceeded $7,000. The festival print of El Mariachi was in fact made for $7,000. The additional budget expenditures came when the movie was picked up for distribution by a studio.

Going over budget

In the US film production system, producers are not allowed to exceed the initial budget. Exceptions have of course been made, one of the most notable examples being Titanic. Director James Cameron ran aground with the budget and offered his fee back to the studio. In other countries, producers who exceed their budget tend to eat the cost by receiving less of their producer's fees. While the US system is profitable and can afford to go over budget, other countries' film industries tend to be financed through government subsidies.

Examples
Though movie studios are reluctant to release the precise details of their movies' budgets, it has occasionally been possible to obtain (clandestinely) details of the cost of films breaks down. For an example of a budget for a $2 million independent feature, see Planning the Low-Budget Film by Robert Latham Brown Spider-Man 2

Story rights: $20 million Screenplay: $10 million Producers: $15 million Director (Sam Raimi): $10 million Cast: $30 million Tobey Maguire: $17 million Kirsten Dunst: $7 million Alfred Molina: $3 million Rest of cast: $3 million Production costs: $45 million Visual effects: $65 million Music: $5 million Composer (Danny Elfman): $2 million. Total: $200 million[8]

Location shooting
In filmmaking, a location is any place where a film crew will be filming actors and recording their dialog. A location where dialog is not recorded may be

considered as a second unit photography site. Filmmakers often choose to shoot on location because they believe that greater realism can be achieved in a "real" place, however location shooting is also often motivated by the film's budget. For instance, the independent horror film Marianne was shot entirely on location in Sweden. However, many films shoot interior scenes on a sound stage and exterior scenes on location. It is often mistakenly believed that filming "on location" takes place in the actual location in which its story is set, but this is not necessarily the case. Most films do a bit of both location shooting and studio shoots, although low budget films usually do more location shooting than bigger budget films because the cost of shooting at someplace that already exists is much cheaper than creating that place from scratch. In certain situations it my be cheaper to shoot in a studio. In these situations lower budget films often shoot more in a studio. Before filming on location its generally wise to conduct a recce.

Pros and cons

Between shoots for The Sorcerer's Apprentice at Bowling Green in New York City, lighting equipment was parked on Broadway.

Location shooting has several advantages over filming on a studio set:

It can be cheaper than constructing large sets

The illusion of reality can be stronger - it is hard to replicate real-world wear-and-tear, and architectural details It sometimes allows the use of cheaper non-union labor or to bypass a work stoppage in the US. Canadian locations such as Vancouver and Toronto are known for this.

It sometimes allows "frozen" currency to be used. The 1968 movie Kelly's Heroes was filmed in Yugoslavia using profits that had been made on movie exhibitions in that country but could not be exported.

Its disadvantages include: A lack of control over the environment lighting, passing aircraft, traffic, pedestrians, bad weather, city regulations, etc.

Finding a real-world location which exactly matches the requirements of the script Members of the audience may be familiar with a real-world location used to double as a fictional location (such as Rumble in the Bronx inexplicably showing the mountains outside Vancouver in the background of an urban Bronx-set scene)

Taking a whole film crew to film on location can be extremely expensive

Location shooting can provide significant economic development benefit to an area because local cast and crew use facilities such as catering and accommodation.

Practicalities
Location shooting usually requires a location manager, and locations are usually chosen by a location scout. Many popular locations, such as New York City in theUnited States, and the Isle of Man in the United Kingdom, have dedicated film offices to encourage location shooting, and to suggest appropriate locations to film-makers. In many cases a second unit is dispatched to film on location, with a second unit director and sometimes with stand-in actors. These locations shots can then be edited into the final film or TV program alongside studio-shot sequences, to give an authentic flavour, without the expense or trouble of a full-scale location shoot.NYPD Blue, for example, was filmed primarily in Los Angeles, but used second unit footage of New York City for colour, as well as featuring a small number of episodes filmed on location with the cast.

Film Promotions
Film promotion is the practice of promotion specifically in the film industry. As with all business it is an important part of any release because of the inherent high financial risk; film studios will invest in expensive marketing campaigns to maximize revenue early in the release cycle. Marketing budgets tend to equal anywhere between half or three times the production budget. Publicity is generally handled by the distributor and exhibitors.

Techniques
In theaters

Trailers are a mainstay of film promotion, because they are delivered directly to movie-goers. They screen in theatres before movie showings. Generally they tell the story of the movie in a highly condensed fashion compressing maximum appeal into two and half minutes. Film posters Slideshows - stills, trivia, and trivia games from the film, shown between movie showtimes. Standees (freestanding paperboard life-size images of figures from the film) Cardboard 3D displays, sometimes producing sound

Television and radio

Hollywood movie distributors spend about $4 billion a year to buy paid advertising (30-second TV commercials, newspaper ads, etc.) and over half that total is placed on broadcast and cable TV, which are the main vehicles for advertising movies to audiences. TV is effective because it is an audio-visual medium like film and can deliver a vast audience quickly, which is crucial because films typically dont linger in theaters more than 46 weeks, according to Marketing to Moviegoers: Second Edition.[citation needed]

Product placement: paid active or passive insertion (as on-set posters, and action figures) of film brand in drama or sitcom shows, or as passing mentions in dialogue. For example, 20th Century Fox commissioned an I, Robot-themed motorcycle, featured on two episodes of American Chopper. The film Memoirs of a Geisha was placed throughout an episode of the TV show Medium. Extended placement: full episodes of television talk shows (Oprah), entertainment news programs (ET), or network news programs (20/20), devoted to compensated exposure of the film, stars, clips, director, etc. In addition, interviews with actors and directors which are filmed en masse at a hotel with local and national entertainment reporters which are featured on local news shows, programs on cable networks, and series such as Byron Allen's series of entertainment series like Entertainment Studios. Production and paid broadcast of behind-the-scenes documentarystyle shows, the type of which are mainly produced for HBO, Showtime, and Starz Advance trailers, longer previews, or behind-the-scenes footage on rental videos and DVDs

Internet

Virtual relationship hyperlink marketing (psycho-associative mental correlation links), wherein a major search engine (like Yahoo's main page) offers articles seemingly presenting interesting news related items, but which are actually back-end loaded with a links page containing multiple "mental references" to film characters, storylines or products. Example: Bond, Transformers, etc..., are connected to scientific invention news stories about advanced weaponry or robotics discoveries, which quickly leads the reader to pages loaded with the latest 007 or Megatron movie clip or art director's fantastical ideas and designs, thus hooking readers with a "bait and switch" story. Creation of standalone studio-sponsored per-film websites such as "example-the-movie.com". Online digital film screeners: These digital film screeners have the benefit of letting you send individual copies of your film or a promo to the press, sales agents, distributors etc. Using them its simple to send individually controlled copies of your film to various recipients with different expiry dates. Along with the security of individual

expiry dates, you can see reports of who viewed your film and track their viewing of the film. Viral marketing: free distribution of trailers on movieoriented websites and video user-generated-content websites, and rapid dissemination of links to this content by email and blogs. Includes alleged leakage of supposed "rushes" and "early trailers" of film scenes. Sometimes, the efforts go further such as in the lead time to the successful premiere of the film, The Muppets which was preceded by several original film shorts on YouTube over a number of years while the film was in production. Creation of Internet Marketing campaign using Paid Advertisement and Social Media Marketing
Print

Paid advertisement in newspapers, magazines, and inserts in books. Cross-promotion of original book or novelization, including special printings, or new cover jackets ("Now a major motion picture.") Comic special editions or special episodes

Merchandising

Paid co-branding (Eragon in American Chopper-two episodes), or coadvertising (Aston Martin and James Bond films)[5] of a product with the film Promotional giveaways: branded drink cups, toys, or food combinations at fast food chains

Promotional tour

Film actors, directors, and producers appear for television, radio, and print media interviews, sometimes showing a clip from the film or an outtake. Interviews are conducted in person or remotely. During film production, these can take place on set. After film release, key personnel make appearances in major market cities or participate remotely via "satellite" or telephone.

Audience research

 There are seven distinct types of research conducted by film distributors in connection with domestic theatrical releases, according to "Marketing to Moviegoers: Second Edition." Such audience research can cost $1 million per film, especially when scores of TV advertisements are tested and re-tested. The bulk of research is done by major studios for the roughly 170 major releases they mount each year that are supported by tens of millions of advertising buys for each film. Independent film distributors, which typically spend less than $10 million in media buys per film, dont have the budget or breadth of advertising materials to analyze, so they spend little or nothing on pre-release audience research. When audience research is conducted for domestic theatrical release, it involves these areas: Positioning studies versus other films that will premiere at the same time. Test screenings of finished or nearly finished films; this is the most well known. Testing of audience response to advertising materials. Tracking surveys of audience awareness of a film starting six weeks before premiere. Exit surveys questioning film goers about their demographic makeup and effectiveness of marketing. Title testing in an early stage. Concept testing that would occur in development phase of a film before it is produced. Marketing can play a big role in whether or not a film gets the green light. Audience research is a strong factor in determining the ability of a film to sell in theaters, which is ultimately how films make their money. As part of a movie's Marketing strategy, audience research comes into account as producers create promotional materials. These promotional materials consistently change and evolve as a direct consequence of audience research up until the film opens in theaters. Marketing can play a big role in whether or not a film gets the green light. Audience research is a strong factor in determining the ability of a film to sell in theaters, which is ultimately how films make their money. As part of a movie's Marketing strategy, audience research comes into account as producers create promotional materials. These promotional materials consistently change and evolve as a direct consequence of audience research up until the film opens in theaters

A movie no longer conveys the message to the audience unless it is presented in an innovative fashion. Movies to move the audience have to be marketed competently with effective promotion, proper distribution channels, state-of-the-art facilities and so on. The channels of communication are explored to launch the film in the most effective manner. Film promotion is the practice of promotion specifically in the film industry. As with all business it is an important part of any release because of the inherent high financial risk; film studios will invest in expensive marketing campaigns to maximize revenue early in the release cycle. Marketing budgets tend to equal anywhere between half or three times the production budget. Publicity is generally handled by the distributor and exhibitors.

Promoting brands in movies/Product placement in movies

WHAT IS PRODUCT PLACEMENT?
A product placement is the inclusion of a product, package, signage, a brand name or the name of the firm in a movie or in a television programme for increasing memorability of the brand and instant recognition at the point of purchase. Placements can be in form of verbal mentions in dialogue, actual use by character, visual displays such as corporate logo on a vehicle or billboard, brands used as set decorations, or even snatches of actual radio or television commercials. The objective of this communication strategy is to expose audience to a brand, whereby the effect can be maximized in terms of increased brand awareness and higher recall, so that the customer will buy the brand which has the highest recall; and to satisfy the customer to optimal level. Because of proliferation of advertisements and the consequent difficulty in getting commercial messages to reach and influence potential customers, product placement appears as an interesting alternative to traditional marketing communication tools. Basically, there are three ways product placement can occur: It simply happens. Its arranged, and a certain amount of the product serves as compensation. Its arranged, and there is financial compensation.

PRODUCT PLACEMENT IN MOVIES

Every frame in a movie has an opportunity for branding. With that intent, a number of marketers are now using movies to project the core values of their brands. In-film advertising, in its most effective form, is about a brand being

a part of cinemas content. Many global brands are now turning to this medium for the sheer impact that a movie can make on its audiences. Brands are increasingly being associated with films. And companies are seeing big business in being associated with films. They feel that their brands connect on a more emotional level with the audience if placed in a film. So far so good. But it is worth exploring why more and companies are making a beeline to advertise in films and what makes films so attractive to companies. Remember the Subhash Ghai-produced and -directed blockbuster Taal, which had this very romantic scene featuring Aishwarya Rai and Akshaye Khanna sharing a bottle of Coke? The scene became more romantic for Ghai because Coke India dished out Rs 1 crore for placing the product in the film. Sources say Ghai approached the two cola giants operating in India. Pepsi India declined probably because it felt the asking rate of Rs. 1 crore was too high. Hence Coke was the only right choice. Advertising in films is becoming big business for film producers, advertisers and ad agencies, and the trend is being witnessed all over the world. American beer company Strohs is said to have paid Rs 15 lakh to the producers of Dilwale Dulhania Le Jayenge for a 15-second scene in which Shah Rukh Khan mentions the brand name while downing a canned Strohs. This year the number of brands associated with films has hit an all-time high. For instance, the recently released Shah Rukh Khan, Rani Mukherjee starrer Chalte Chalte, has the hero driving a Hyundai Santro and using Castrol engine oil in his vehicle. Kaizad Gustads Boom, released recently abroad, features 400 carats of real diamonds in its opening scene, courtesy Diamond Trading Company. The Rohan Sippy-directed Aishwarya Rai-Abhishek Bachchan film Kuch Na Kaho is said to have Coca-Cola and Perfetti Van Melles confectionery brand, Mentos, as in-film placements. Coca-Cola has been associated itself with Hollywood for at least 25 years, and the company has offices near major Hollywood studios for the purpose. Coke is using much the technique in India. Apart from Hum Saath Saath

Hain and Taal, Cokes sub-brand Thums Up was associated with the Sanjay Gupta-produced Kaante. Sources at Coca-Cola India say the company will increasingly be associated with Indian passions like cricket and Hindi films. The companys involvement ranges from in-movie advertising, theatre tie-ups and premieres to national launches, special shows and consumer promotions. Says Coca-Cola India vice-president (marketing) Shripad Nadkarni: In-film is a great way to connect with the consumer in their environment. For liquor companies faced with dwindling avenues to advertise their products such placements are being looked upon with a positive glee. This year McDowells second-largest brand McDowell No 1 was associated with Raveena Tandons home production Stumped and thus it was McDowell Presents Stumped, all the way. McDowells brand Bagpiper was associated with the Vivek Oberoi starrer Dum while McDowells strong beer Zingaro was associated with the Pooja Bhatt-produced film Jism. Taking a lead from in-film advertising, multi-national companies are now eyeing associative marketing partnerships in Bollywood. If Nike had become a part of the Men in Blue's uniform for the Cricket World Cup 2007, Reebok is busy romancing Bollywood. And this is not just a brief flirtatious engagement, as the sports brand readies for long innings. It's definitely not in-film advertising where a brand makes an appearance akin to an advert in a movie that the MNC is interested in, but a partnership with production houses for associative marketing. In the just-released cricket movie, Hattrick, Reebok has a small placement in the movie and will be seen in a 60 second commercial at the end of the movie. The brand will also be seen in a small tie-up with Salaam India , Lets Bring the Cup Home and Goal, a football movie releasing later this year. In Goal, customers will get to see Reebok's new range of sports shoes sported by the star cast that would be launched in August along with the movie. Reebok is also partly financing the movie and would participate in co-promotions, retail promotions and other activities. Reebok has increased its budget tenfold for alternative mediums, which largely include Bollywood. "Our budget has increased from 1 per cent in

2006 to 10 per cent in 2007 for alternative mediums and budgets will increase further next year," said Sajid Shammim, marketing head, Reebok. Over the last two years, the trend is shifting from in-film advertising to associative marketing and tie-ups with bigger budgets. Also, more brands, whether it is the FMCGs, new sectors like apparels (for instance, Pantaloons was associated with Don), all are looking at tapping into Bollywood to reach their consumers. R Lakshminarayan, chief executive officer, Mudra Marketing Services, affirms the growing trend, "For regional movies, brands have budgets of Rs 25-30 lakh (Rs 2.5-3 million) and for a Rajnikanth-starrer or popular stars brands spend anywhere up to Rs 3 crore (Rs 30 million) for a movie, similar to the going rates for Bollywood movies." Some of its work includes ICICI in-film placement in Baghban, Lenevo in Kabhie Alvida Na Kehna and now Reebok in Goal. Vinit Karnik, senior director, Broadmind, says, "We signed 16 new customers in 2006 and expect 100 per cent growth to 25-30 new customers in 2007." Bollywood has now become an integral part of the advertising budgets of corporates, Sidharth Kapoor, director, UTV, says, "Over the last two years corporates are setting aside significant budgets for Bollywood. A huge change from the ad hoc spending where Bollywood was a part of the 5-10 per cent of the advertising budget allocated for innovations." Till last year, brands association was limited to just 60-70 movies of the over 300 Bollywood movies releasing every year. Praveen Vadhera, country head, Brand David, says this will now change. "In-film advertising and associative marketing is growing at over 70 per cent in 2007 and the number of movies having brand tie-ups will also double this year." At UTV, "brand tie-ups account for 5 per cent of our overall revenues and in three years it will account for 10 per cent," said Kapoor. Similarly, for Brand David, which had only one brand tie-up HPCL Krrish

ADVERTISING FILMS
Advertising is the concept of communicating to a large number of people in one instant. With various brands shouting for attention from all corners, it becomes increasingly confusing for the end customer to choose. But, isnt there something about the advertising films that captures your conscious momentarily and helps you choose one particular brand over numerous others? Well, certainly, there is, that oomph, and the relativity to our daily lives that gets scripted in such a magnificent way that we are left with no option but to register.

Howev er, no

advertising film can be truly made impactful without researching on the clients marketing goals, target audience, and product knowledge. For, one thing that works for someone may not work for someone else. This is where our R&D people get into deep analysis and prepare a project. Strategic thinking, coupled with market knowledge and back to back research, enables our highly qualified professionals turn the tables in favor of our clients.

We aim at converting buying moods of the consumers, and nothing less than an innovative, creative and relative advertising film will help us reach our goals. Success stories for brands are written by consumers, hence the focal point remains the consumer. We believe that though brands may twinkle once or twice owing to star presence, but they sustain only if they relate with the consumers. A great ad-work is a work of pure genius, and relativity to us all is an important aspect. With strong marketing basics, and sound marketing knowledge, a punch of creativity thrown in with a hint of innovation, we present to you the most inspiring and amazing advertising films. Advertising in Bollywood has a major role to play in the success of the movies that are produced from this industry. Apart from the television advertisements there are also posters for the films which are very important as far as the acceptance of the films are concerned. Advertising in Bollywood also features the actors and actresses who are the primary attractions of the movies. Posters and billboards advertising Posters and billboards are the main fields for advertising in Bollywood. Many of the local artists in different areas are associated with the jobs of painting the billboards. Some of the legendary artists in this country were involved in this business of painting posters and billboards throughout the country. M. F. Hussain, a great painter from this country started his career as a painter of billboards for many hit films. Printed materials cost more and

moreover, money is spent to make the arrangements for public display of the printed posters.

Despite the fact that manual painting is cheaper than the other ways, today, with the development in printing technology, computer generated posters are used for the purpose of advertising in Bollywood. Vinyl printing technology is used for these digitally made pictures. Some famous scenes are generally picked up from the movie for the basics of these posters. Recently, the old handmade film posters are regarded as antique objects in the film industry. They are also important for the display of folk art in them. Advertising through film music Another way which is followed in advertising in Bollywood is through the help of film music. Today, music videos are also popular and they have also become some of the most effective ways of advertisement. These music videos are shown in television and people get the chance to know about the recent films which are being released in this industry. Bollywood films are regarded as products and therefore marketing strategies for the films remain the same like the other business products. Billboards display the names and pictures of the actors and actresses. There are also the names and roles of the directors, producers, and technicians given in them. So, going through these

advertisements will let you know about all the details of these films. information about Bollywood. Go through the pages for further detailed information about this great Indian film industry. e.g Mobile advertising Bollywood movie, Zindagi Milegi Na Dobara will be promoted primarily through mobile channels. To achieve that, the production company, Excel Entertainment, has partnered with Aircel to share a two-minute trailer with its 55 million subscribers. According to the AFP, movie producer Ritesh Sidhwani said that such technology enabled more targeted marketing for films, which are facing increasing competition from other forms of entertainment and are no longer guaranteed healthy box-office returns. We felt we needed to go beyond voice to promote Zindagi Milegi Na Dobara and therefore we came up with this idea, said Ritesh Sidhwani. I think it will work fantastically because mobile reach is much wider Many people and especially the young crowd watch promos on the Internet, so we felt it was better to go with this plan. Besides mobile, Aircel has also developed a dedicated Zindagi Na Milege Dobara tab on its600,000 strong Facebook page. It has even made it the landing page for this campaign. For non-Aircel subscribers, you can like Aircels Facebook page to see the sneak preview. Alternatively, YouTube and Rediff also provide several interesting trailers. With Bollywood film Zindagi Na Milege Dobara having stepped into mobile advertising, other film maker companies would be keeping a close watch. Success or failure for Zindagi Na Milege Dobara would more or less shape how Bollywood movies approach mobile advertising in the future. Excel Entertainments partnership with Aircel could work like a doubleedged sword. 55 million people is a huge audience but it also means other non-Aircel subscribers are missing out the promotion. India has 791 million mobile subscribers ((or 573 million, counting active users), which means

only 6 percent of all the mobile users in India will receive updates related to Zindagi Na Milege Dobara. Nonetheless, this bold step to employ a mobileadvertising-only tactic has already helped Zindagi Na Milege Dobara gain quite some buzz. Its refreshing to see a film company take a creative approach to bringing in a wider audience. Its a wonderful contrast with other countries where film companies often try to profit from litigation instead of innovation. Celebrity advertising Although the audience is getting smarter and smarter and the modern day consumer getting immune to the exaggerated claims made in a majority of advertisements, there exist a section of advertisers that still bank upon celebrities and their popularity for advertising their products. Using celebrities for advertising involves signing up celebrities for advertising campaigns, which consist of all sorts of advertising including, television ads or even print advertisements. Celebrities like Aamir Khan and John Abraham dont only involve in brand promotion but also for social causes which is very endearing.

Films Distribution
The distribution of a film (or movie) is the process through which a movie is made available to watch for an audience by a film distributor. This task may be accomplished in a variety of ways; for example, with a theatrical release, a home entertainment release (in which the movie is made available on DVD-video or Blu-ray Disc) or a television program for broadcast syndication and may include digital distribution. India boasts of about 13,000 theatres enjoying a weekly admission of about 100 million people or 5000+ million per year. Distributors are the last link in the movie chain which take films to the people. Although distribution and exhibition are the end points in the value chain of the film business, they are of utmost importance because "goofing" up at this stage means that the film , however well made, will be a flop at the "Box Office". With post production accounting for 20% of the film budget and taking 20% of the total time, any savings in this would go directly to the bottom line. Digitalization has the potential to bring in the desired savings and drive up profits substantially. Typically a distributor buys rights for a 'territory' and recovers costs from the exhibition of the film. The distributor buys into the risk with the producer. Today, before a film is released, no distributor knows the fate of the movie. Copies are made based on a guesstimate and the stakes are high. The copies are sent to various distributors in the country, who in turn rent them out to theatre owners. If the estimate goes awry, all that the theatre owner, the distributor or the producer can do about it is grin and bear the costs. The digital world, however, works differently. The problem of physically moving the reels from one place to another does not exist. All it requires is a license to make another copy. And, making copies is as easy as clicking a button. The cost of distribution is significantly lower. The theatre owner will

no longer be forced to show a movie that is doing badly. He simply has to switch over to the one that the audience wants to watch. Further, with overseas becoming a major territory and considerable costs associated with the same any savings in the distribution costs will be a great boon for film producers and distributors alike. Distribution of films around the world has become such a big business that it fetches about as much business as Delhi-Uttar Pradesh, one of the six distribution territories within India. With tickets in US being priced at $8 and those in UK being priced at 8 pounds the collection from the 10 million population from overseas is same or more than the collection from the 150 million population in of Delhi and Uttar Pradesh . Other disadvantages of physical distribution are because of the high costs of making excess prints and because of the physical nature (rather than digital nature) of prints people in remote corners of the country deprived of seeing a hit film till the print is available for them. Further, if a movie is a flop then because the film is not simultaneously released (because of the physical nature of prints) all over the country at the same time bad publicity may spread and therefore no one may want to see the movie. A primer on digital technology in film distribution Digital cinema or eCinema or eMovies is the latest buzzword that has the potential to profoundly affect the distributors in the industry. Electronic cinema refers to film-less digital distribution and exhibition system of films using high quality digital projectors that are brighter and have higher resolution versions of video projectors. With this, feature films can be projected in small to medium size theatres with DVD playback equipment . It is expected that by 2005, movies as bitable digital data files will increasingly replace physical prints as the preferred medium of distribution.

Standard release

The standard release routine for a movie is regulated by a business model called "release windows". The release windows system was first conceived in the early '80s, on the brink of the home entertainment marketing, as a strategy to keep different instances of a movie from competing with each other, allowing the movie to take advantage of different markets (cinema, home video, TV, etc.) at different times. In the standard drill, a movie is first released through movie theaters (theatrical window), then, after approximately 16 and a half weeks, it is released to DVD (entering its video window). After an additional number of months it is released to Pay TV and VOD services and approximately two years after its theatrical release date, it is made available for free-to-air TV.

Simultaneous release A simultaneous release takes place when a movie is made available on many media (cinema, DVD, internet...) at the same time or with very little difference in timing. Simultaneous releases bear great advantages to both consumers, who can chose the medium that most suits their needs, and production studios that only have to run one marketing campaign for all releases. The flip side, though, is that such distribution efforts are often regarded as experimental and thus, do not receive substantial investment or promotion. In the course of the years simultaneous release approaches have gained both praise, with Mark Cuban claiming movies should simultaneously be made available on all media allowing viewers to choose whether to see it at home or at the theater, and disapproval, with director M. Night Shyamalan claiming it could potentially destroy the "magic" of movie going. Among relevant simultaneous release attempts are Bubble (2006) by Academy Award-winning director Steven Soderbergh, EMR (2005) and The Road to Guantanamo (2006). Straight-to-video release

A straight to video (or straight-to-DVD or straight-to-Blu-ray depending on the medium upon which the movie is made available) release occurs when a movie is released on home video formats (such as VHS, DVD, etc.) without being released in theaters first, thereby not taking into consideration the "theatrical window". As a result of strong DVD sales, STV releases also achieved higher success and have become a profitable market lately, especially for independent moviemakers and companies. Internet Release Internet research is still new when it comes to the film distribution platform. The volume of downloaded movies is difficult to find but none compares to the even more problematical discovery of their origin. Shrinking of the theatrical window While originally conceived for a six months duration, the theatrical window has today been reduced to little more than four months. Movie studios have reportedly been pushing to shrink the duration of the theatrical window in an attempt to make up for the substantial losses in the DVD market they've been suffering from since the 2004 sales peak. These attempts have encountered the firm opposition of theater owners, whose profits depend solely upon attendance and who, thus, benefit from keeping the movie available on the silver screen. In early 2010, Disney announced it would be putting out the DVD and Bluray versions of Tim Burton's Alice in Wonderland 14 weeks after the movie's release date (instead of the usual 17) in order to avoid competition from the 2010 World Cup.[1] In response to such statements, theater owners made threats not to show the movie on their screens, but later reconsidered their position before the movie was released. Other strategies are also being deployed in order to make up for slow DVD sales. Most major studios have considered making movies available to VOD services shortly after their theatrical release for a premium price. In July 2010 Netflix secured a deal with Relativity Media in which the latter agreed to distribute a number of major movies to the aforementioned VOD service before Pay TV.

Makers of smaller-budget movies are also putting to the test new release strategies. In 2009, the movie The House of the Devil premiered on VOD systems on October 1, and received a limited theatrical release one month later. In August 2010, it was announced that the movie Freakonomics would be released on VOD services on September 3, one month prior to its theatrical release. British sci-fimovie Monsters will also undergo the same release drill.

Home Entertainment Distribution Eros was the first to invest in the production, distribution and development of the home video market for Bollywood internationally. Starting with videocassette over a decade ago and moving on to Video CD and now the high quality DVD format, Eros has the largest home entertainment catalogue for Bollywood with over a 1000 films and song compilation titles. Eros has developed an online store at www.erosentertainment.com and more recently introduced an online rental of the DVDs. A pioneer and market leader in this arena too... Distribution Channels Again, Eros prides itself on its widespread network of local alliances that are maintained from our 4 offices around the globe. In the US for example, we have deals with over 100 agents and 2000 shops whilst in the UK our network has alliances with 50 agents and 1000 shops. Satellite TV In August 1999, Eros made yet another leap forward into the film value chain by venturing into the satellite broadcast television market. Eros invested its massive satellite television library of over 1000 films and along with some other eminent investors, launched - B4U, that's Bollywood For You - the first dedicated premium digital Bollywood movie channel launched internationally on the HBO model. Today, B4U Movies is beamed across 5 continents, via over 8 satellites to over 120 countries and has become a market leader in its space in a very short span of time. B4U is carried on major cable franchises in the UK like NTL and Telewest. Soon followed B4U Music, a 24- hour digital

Bollywood Music channel that has addicted millions of music fans across the globe. Providing B4U with its film content, Eros is the soul of B4U. Eros is also one of the biggest Bollywood content providers to Terrestrial Television networks around the world including BBC and Channel 4 in the UK. Theatrical Distribution Eros International is by far and away the leading distributor of Bollywood movies worldwide, with a market share consistently above 50%. With over 25 years experience we are the true pioneer of the Bollywood industry and were the first to recognise the potential outside of India. As such, Eros is a recognised brand name around the world and we have distributed some of the biggest Bollywood blockbusters of all time including the BAFTA nominated Devdas. As befits a major global film distributor, we maintain close alliances with cinema chains and local distribution outlets worldwide and in 2003 we distributed 22 films in the UK alone. In short, the Eros reach of Bollywood is incomparable to other companies Distribution Channels "Our worldwide distribution channels are extensive. Not only do we cover the US/Canada and India from the respective offices in those countries, but from out UK office we reach a truly global audience. At present we have deals across Europe as well as South Africa, Singapore, Thailand, Malaysia, Australia, New Zealand the Fiji Islands, Sri Lanka, Burma, Kenya, Uganda, North Africa and Indonesia. If you need to reach the world, Eros can help! Investing in the Future Eros has over the years invested in films while they are the script stage or under production thereby developing a long-term relationship with the producers and big Bollywood banners. At the same time, Eros works very closely with the international exhibitors and cinema chains such as Warners, UCI, Odeon and Cineworld to name a few to allow a wider and far-reaching distribut- ion for Bollywood films. Eros was the first to take Bollywood to the multiplex cinemas. Eros is the first to invest in a new genre of films like American Desi, Bollywood Calling, ABCD and Monsoon Wedding - 'crossover' films having a wider appeal like Hollywood, which will mark a new era in the

history of Indian films. The stage is set and the audience poised. Watch out Hollywood, here we come. Theatrical Distribution Eros has gone for a conscious backward integration into film finance with a view of becoming the 'world rights controller' for those films. This not only gives greater control and leverage for the rest of the business, but it also ensures a steady supply of films into the pipeline and helps protect the group against volatile price fluctuations in the market. "Eros International is a truly global brand. We distribute product to countries as diverse as Fiji, Russia, Malaysia and South Africa amongst many others. Our offices are located worldwide, with the corporate headquarters being London"

Multiplex industry
WHAT IS A MULTIPLEX INDUSTRY??
Multiplex is a medium that offers a person composite entertainment comprising of a one stop destination to shop, entertain, and dine and watch a Varity of movies under a common roof. Multiplex are one of the means of lifestyle that offer to viewers the choice of watching a movie in a five star or three star environment. A multiplex is a movie theater complex with multiple screens, typically six, ten, or more screens. They are usually housed in a specially designed building. Sometimes, an existing venue undergoes a renovation where the existing auditoriums are split into smaller ones, or more auditoriums are added in an extension or expansion of the building. The largest of these complexes can sit thousands of people and are sometimes referred to as a megaplex. SOME FACTS ABOUT MULTIPLEXES Presently there are approximately 13000 screens in India with equal number of space available for the same amount of theatres to be opened. Multiplexes in India are given benefits for their development as they form a major part of the entertainment industry. Benefits such as overall tax concession, reduction in entertainment tax and so on are provided by the government.

GROWTH OF MULTIPLEX INDUSTRY DRIVEN BY MALLS

The Multiplex Association of India estimates that there are around 900 multiplex screens in India. By April next year, the count will increase to 1,350. At an average cost of Rs 2 crore per screen, that is an investment of Rs 900 crore. Nikhil Vora, MD of IDFC Securities, believes the industry is well capitalized to keep pace with its growth projections. Leading the charge is PVR Ltd, which says it will add around 127 screens by April 2013. Inox Leisure Ltd will have 80 more, while many smaller and regional players, such as DT Cinemas and Wave Cinemas are also expanding. Despite its parent, Reliance Media Works, being saddled with Rs

1,912 crore of debt, Anil Ambani's Big Cinemas, the industry leader by screen count, will add 30 screens. And Canadian company Imax Corporation is re-entering the Indian market this year in collaboration with Chennaibased SPI cinemas, which operates the Sathyam chain of cinemas.

But the real screen star will be Cinepolis, the world's fifth-largest multiplex chain. The privately held Mexican company plans to make investments of more than Rs 350 crore in India by the end of 2012. Cinepolis, which commenced operations in India in 2007, currently has 32 screens, mostly in Tier II cities. It plans to add 100 more by this year end and take its total count up to 500 by 2016. Of these, 440 have already been signed up with mall developers. "We are not in a race. We are only looking at opportunities," says Milan Saini, MD of Cinepolis's India unit. So what is behind this sudden explosion? Seen alongside annual ticket sales, which have been declining steadily over the years with the advent of satellite television, DVDS and the like, the ambitious plans seem all the more baffling. To understand the paradox, one need look no further than the neighbourhood mall.

Corporate film production

What do you mean by a corporate film production?? Not long ago, newspapers were the only mode of communication wherein corporates interacted with consumers. Instant indulgence is the word of the day, and in the fast paced world of today where competition is increasing day by day, communication has taken the driving seat for all businesses and corporate houses. Building a brand requires continuous push, and this push can be achieved only by communicating your message, in an informative yet interesting way, and through a common medium understood by all. Thats where the Corporate Film Production comes into picture, basically being a short movie or documentary about your company profile, some history, present interests, achievements, facilities, teams and products. With all these subjects, it is you who has to choose where and what should form the basis of your message. The target audience must be kept in mind, and so should be the expected or desired results. Without these vital elements, a corporate film is reduced to just another boring experience. Approach Entertainment implies all these basic principles to chalk out an extensive program, which is further trimmed suiting the budgets and stipulated times. To design a corporate film, we ensure that we are thinking on the same lines, and to do so we request our clients to brief us with every aspect of their firms, nothing being unimportant. Our experts make notes on the information provided, and a professional, strategic approach leads us in consensus with you and your companys goals. Basis the requirement, we are well equipped with designing corporate presentations as well, be it for staff, dealers or customers, Corporate film production is not only about lights, camera and action, but is about about how a corporate house wants to relate to the audiences. With our experienced corporate gurus, we chalk out a suitable script, suggest casting and location, and manage sets and acoustics. Even the minutest of details is captured, and we are well equipped at all times to deal with any technical urgency. We not only articulate concepts, but also ideally make these concepts a reality.

Approach Entertainment, in the true sense of establishing relationships, believes in cultivating human values, and relentlessly focuses on imbibing by the simple facts of marketing communications. We believe in delivering, within assigned budgets and stipulated time frames. When we say Yes, direct all our energies into delivering the Yes justifiably. We are a group of people who think ahead of the times, and we believe in solutions, rather than problems. We are a bunch of young and old enthusiastic production team who like to accomplish what others refuse to think of, and with creativity and innovation flowing in our veins like blood, we only deliver what is unthinkable and unimaginable. Corporate film production in India has bloomed ever since its inception. Corporate videos are the most effective way to land the planet of business. One can create a healthy B2B environment in the national and international market by showcasing the companys profile in an exciting and interesting manner. It is a way to reach thousands of people in less than a minutes time. The outside world can watch the past, present and future plans of the company through the corporate film on the homepage of the companys website. It is not confined to the website only, the corporate video can be uploaded on video sharing websites to stimulate and prompt the customers/clients to contact the respective company for their projects. Company video production in india has popularized due to its exhilarating features and advantages. With its renowned and experienced management, Armaan Productions has also ventured into video production services. Armaan Productions is such a video production company in india that provides low cost Corporate video production services with the help of the most recent and modern equipment and a small but a dynamic and technically sound team. The well experienced and creative team of script writers, cinematographers and video editors work 247 to fulfill the clients desires by providing high quality audio and visual production services. Now creating a mesmerizing, attention grabbing and appealing corporate video is not a herculean task. With the advent of Armaan Productions as a corporate film production company in India, one must forget about spending millions of dollars on corporate film production. Armaan Productions is well recognised for its unique video production services in india. It aims to provide full script to screen services for the film of the clients company or product at very low prices.

To ensure smooth and efficient film/video making Armaan Productions follows a well-organized procedure . Pre production is the backbone and the first stage of any kind of audio and visual production. Armaan Productions lends thorough support to its clients in corporate film production with all the pre production services like idea, script writing, and storyboard designing and budgeting for the product. Generating creative ideas to present visuals to the audience in an eyecatching way is the motto of Armaan Productions. The production team here is dedicated to complete the assigned task in a short time to save the hard earned money of the clients. Here, it is believed that customer is really the king so satisfaction of the customers is the primary motive. So to get an exciting video for company in india at competitive costs Armaan Productions is the best place.

Who is a corporate film producer?? A corporate film has the complete essence of a company's corporate image and strategy. Therefore it is very important to focus on the core competencies & other aspects relevant to a corporate film. We start by understanding your business, your product(s) or service(s), your target customer's profile and your objective for developing a corporate film. Afterwards a concept with a script is developed by our visualisation team and it is then brainstormed with you with the aid of storyboards. After necessary approvals we go about the business of actually making the film. We Doing Corporate film for client like IndianOil, Petronet LNG, GAIL (India) Ltd, NHPC, Bharti - Airtel, Ebix, Philips etc.

The 6 Ps Of Bollywood Marketing mix

One of the largest money churners in India, Bollywood: the business of making movies, for which once marketing meant putting up Eastman Color posters across the streets of Mumbai has evolved dramatically. Bollywood producers and filmmakers have realized that their movies are products that need to be branded, positioned and targeted at the right audience. The recent Salman Khan starrer, Dabangg which was made on a budget of 30 cr. had a marketing budget of 12 cr. That is a whopping 40% of the movie budget. The high marketing budgets are not just the norm for big budget films, Peepli Live a film made on a budget of Rs. 10 cr. had a marketing budget of Rs. 4 cr. While Bollywood scripts have far from evolved, with the same stale movies being churned out day in and out, the way Bollywood is marketing its movies, would make Kotler proud! Here is my take on the 5 Ps of Bollywood marketing with examples of many movies released in the recent past. The 6 Ps of Bollywood Marketing Product: The entire cinema experience is the product that you as a filmmaker are trying to sell. When a middle class worker spends Rs. 200 to watch a movie, he is paying more for the experience than for the movie itself. Bollywood marketers realise that marketing movies means selling the entire experience of watching a movie to its end consumers. Moviemakers need to understand which category their movie belongs to it and which audience it aims at targeting. Hence, the marketing strategy for a Dabangg and a Peepli Live would be poles apart. While Dabangg was targeted at the masses and single theatre screens, Peepli Live was targeted at the multiplex audience. Hence Dabanggs promos reflected the masala experience that the masses will relate too while Peepli Lives promos had sarcasm and black humor which would generate interest among the multiplex audience. UTV Motion Pictures Marketing VP, Shikha Roy says, Most of the promos were shot separately and not as a part of the movie, to generate a kind of viral campaign and to have the people talking. Marketing is all about catering to the needs of the consumers and making profits by satisfying those needs. Who better to know this than filmmaker

Mahesh Bhatt, most of the recent films made under his banner Vishesh Films revolve around recent controversies. Vishesh Filmss latest offering, Crook, is centred around the racial attacks on Indian students in Australia. Such subjects which the public relates to help gather enough interest and curiosity amongst them. Bollywood makers are also giving a lot of thought to the naming of their products (movies). Like other products, movie names too should reflect the spirit, genre and feel of the movie. Gone are the days when a name like Vijay would sell, Innovative names are the order of the day. Dibankar Banerjee is one filmmaker who gives a lot of thought and importance to the naming of his films. His last offering Love, Sex And Dhoka, made on a shoestring budget of 2 cr. caught the eye balls of the youth just on the power of its unique name. The name of the movie was enough to generate curiosity in the minds of the public and attract them towards the movie screens. It is time and again that we keep coming back to this. The base for a welldefined film marketing strategy starts with the film itself. A well researched script with a well-woven screenplay is where the core of the film-marketing strategy for a film should be invested. It is not about who sees the film only, it is also about catering to a definitive audience who watches your film in theatres, and more often than not, more than once. While other elements of marketing focus on attracting these audiences it is this aspect of marketing i.e. the product that aims at satisfying these audiences. Placement: The timing of the launch of a product is a crucial factor in determining its success. Similarly, the release date of a movie is one of the smallest but most significant factor in determining the success of the movie. Observe for the past few years the biggest blockbusters are released during the Diwali season or during the Christmas Eve. What is the common link between Taare Zameen Par, Ghajini and Three Idiots? Apart from the fact that all these blockbusters star Aamir Khan, the movies have their release date as 25thDecember. Filmmakers nowadays invest a lot of time in deciding the right time for releasing a movie. Even a good movie released during the exam season of students or if it is clashing with a major event such as IPL cricket extravaganza may get a dismal opening. Film makers also watch out if any big banner movies are being released during the same time as theirs and accordingly postpone or pre pone their release. Karan Johar, on his show Coffee With Karan once asked film maker Farah Khan what would she do if she

realised that a Himesh Reshammiya movie was releasing at the same time as hers. Farah replied with a smile, I would postpone my movies release date. That was the time when Himesh had the Midas touch. With the first element satisfied we move on the element that makes the first element possible. It is true that an audience will be satisfied only when they are attracted to go into the theatre to watch the film. It is placement that accounts for attracting the audience into crowding the theatre. Placement as a term is used to describe the modus-operandi of placing the communication and promotion strategy of the film on to media and nonmedia platforms available in the industry today. There is a complete media-mix that should be put into place usually 15% to 25% of the production cost of the film is invested into the marketing of the film in Bollywood. But then there are films like Lagaan, Boom, Out of Control, Khel and others who have spent as much as 40% of their production cost on marketing. But only Lagaan out of all these films became a super-hit and needles to point out that that had a lot to do with the central theme of the film. Today it makes perfect sense to collaborate with one or more media partners in order to ensure maximum focused publicity of your film through certain guided platforms.

Positioning: The entire media, marketing and communication strategy of the film depends on the positioning of the film. Positioning is that particular slot in the mind of the audience that the film positions itself in. This kind of positioning has a lot to do with how well defined your target-audience is. The time-consuming and highly complex ordeal of pin-pointing the target- audience is something that a good film marketer should take care of in the conceptualisation stage. The film by and large should appeal to the sensibilities of all kinds of audience but prominently should be positioned for a well defined audience. Based on the projected associations with your target-audience you must formulate the positioning elements. These positioning elements should highlight and reflect in all the promotions for the film.

Promotion: No longer are promotions restricted to showing trailers and painting the city with posters of the movie. Bollywood movie promotions have come a long way. The small budget movies try to get referential power for their movies by participating in international film festivals. Winning awards in the international circuit helps in increasing the brand equity for the film, and the audience perceives that it will be a goodproduct. Vikramaditya Motwanes debut film Udaan created enough buzz and the multiplex crowd was waiting anxiously for the movie to release long before its promos started appearing. All thanks to the many awards and critical acclaim the movie managed to get in the international film circuit.

When it comes to marketing, Aamir Khan is one of the most innovative marketers out there. The way he promotes his movies is a lesson for all budding marketers. During the promotion of Ghajini, Aamir donned the role of a barber, giving Ghajini haircuts to his fans. For Three Idiots Aamir Khan went step further and came out with his own collection of hand drawn Doodle T Shirts, which reflected his own style and the soul of the movie. The T shirts became a rage among the youth. Also the rickshaws in Mumbai, were used as an effective way to market 3 Idiots. Aamir had painted stickers of Capacity : 3 Idiots only on the back of the rickshaws. The unique strategy created a lot of buzz for the movie at a very low cost. Seeing the craze that youth of today have for playing games, Bollywood marketers have taken the route of combining movies and games to help promote their films. Yash Raj Films for their latest offering Lafangey Parindey has come out with two games : One a boxing game which reflects the spirit of Neil Nitin Mukesh and another a skating game for Deepika Padukone fans. These games help movie fans to relate to the characters of the movie more closely. Bollywood does not want to be myopic in its view, instead of looking at the television industry as a competition; they have taken it as a facilitator to promote their films. Reality TV shows are used by filmmakers to promote their movie. A few weeks before the release of a movie you will have the stars of the movie making appearances as judges, hosts, participants on TV shows. John Abraham will be using the popular youth reality show MTV Roadies to promote his upcoming film, Jhootha Hi Sahi. Similar to the

character he plays in the movie, John would lie to contestants but provide them with clues to help them win Roadies. Personalisation: Todays film makers realise that while marketing a film, they cannot follow a particular template for all films, but need to customise the marketing strategies for each, treating each film as a separate brand entity. So you had an Amitabh Bachchan poster telling you in theatres that, Do not dirty the theatres or I will tell Paa to Switch of your mobiles or I will tell Paa for the promotion of his film Paa where he played a 13 year old progeria patient. While for Anurag Kashyaps Dev D you had customised tattoos being done at select parlors and condom shaped passes being distributed for the premiere of the movie. Ashutosh Gowarikers movie Whats Your Rashee which had Priyanka Chopra play 12 different characters had 12 different flavours of popcorn being sold in movie theatres each corresponding to a different Rashee. The marketing team of Aladdin teamed up with Baskin Robbins to launch three delectable flavours on the characters of the movie: Ringmasters Whip, Princess Delite and Choco Aladdin. In another smart marketing move, ticket counter boys, ushers, and the popcorn boys sported the Ghajini hair cut look during the release of Shah Rukh Khans Rab Ne Bana Di Jodi. So although cine-goers went to watch SRKs flick, the anxiety to watch Ghajini, which was releasing two weeks later, increased many fold.

People: No longer do filmmakers try to keep away from the general public. They have known that it is the people in the end who can make or break their film. So be it Salman riding a horse in the Mahalaxmi race course to promote his action film Veer or Abhishek Bacchan creating a Guinness record by travelling to 5different cities in a span of 24 hours to promote Delhi 6, the people connect is clearly visible. Bollywood marketers realise that people will feel for the movie and relate to it only when they are able to relate to the stars of the movie. Aamir Khan to promote Three Idiots, went on a disguise marketing trip, in which he went to various parts of India, incognito and understood the peoples problems, aspirations and dreams. The entire campaign did not take long to become viral and created a lot of hype for 3 Idiots.

Actors have also taken to blogging and tweeting to promote their films and to break barriers that exist between them and their audience. From Shahrukh

Khan to Genelia DSouza, you can find them all present on the social media circuit trying to develop a connect with their audience. Imtiaz Ali, director of the romantic comedy Jab We Met, who has done a course in advertising and marketing from St. Xaviers, believes in the idea of inclusive marketing. He believes that the opinion of the public is very important for a filmmaker, as they are the final consumers. So when he was confused on fixing a title for his Shahid-Kareena starrer, he held an all India poll, asking people to vote from amongst 3 titles (Ishq via Bhatinda, Jab We Met and Punjab Mail). Jab We Met got the most votes and was chosen as the title for the film. YouTube is also being effectively as a medium to connect to movie buffs. Recently the critically acclaimed film, Udaan had the lead actor asking the public to share with him their college moments on Udaans Facebook fan page. Also, Udaan had a contest in which the audience was asked to share their first adult film experience with the Udaan team on YouTube. Anjaana Anjaani has a promotional campaign on YouTube in which movie fans can directly ask questions to its stars Ranbir Kapoor and Priyanka Chopra and get them answered. When we are talking about contests as a way of connecting to people, Ram Gopal Verma cannot be left behind. The director who was churning flop after flop came out with a contest for his horror flick Phoonk called the Dare to watch it alone contest in which he agreed to offer Rs. 5 lakhs to anyone who would be ready to take on the challenge of watching the entire Phoonk movie alone. This intelligent promotional campaign created a pull effect at instigated people to watch the film. Apart from that Ram Gopal also ran a It Happened to me contest wherein participants were asked to share their real life scariest experience and the 10 best entries selected by Ram Gopal Varma will be paid Rs. 25,000 each. Also if a story is good enough to be made into a film, you land a chance to win Rs. 5 lakhs. The promotional campaign of Phoonk managed to develop a connect with the people and Phoonk, a film sans any stars was a huge hit at the box office. The positioning of the film has a lot to do with the personification of the film. Personification finally is the key to creating a brand out of the film. Lagaan is brand India and Cricket. It is the central characters (not the actors) of the film that should enable the making of a brand out of your film. There should be a well-defined

promotion plan that has to be put-into place for promoting the people of the film (both on-screen and the technical team). The build-up should be such that without over-exposing the team there should be enough flurry of activity that will catapult the audiences into the character of the film even before they see the film. Public Relations: Besides the advertising and promotion of the film there should be a strategic focus on public relations for the film, both media and non-media public relations play an important role in the success of the film. Partners Brands and Bollywood: There is evidence of shortened attention spans and a greater effort to break through the clutter of multitudinous brands and media vehicles. The best way to deliver the message is to catch the customer off-guard when the rational defenses are down. The best way to do so is to use the emotional gate rather than the rational gate. The rational gate examines the advantages, benefits, features and seeks value for money; the emotional gate is all about trust, love, identification and belief. It has been noticed that films operate at the emotional level. These aspects have been leveraged by brands such as Coke, Pepsi, Lux, Airtel, Hyundai, Bagpiper, Lux wherein movies and brands flash discreet (and sometimes indiscreet) messages at their target audiences. Then there is also the need to examine synergies between the brands and films. The successful integration of product placement within the films storyline has a long history: the first example being the yellow Rajdoot bike used in Raj Kapoors Bobby. Hollywood also leverages brands such as BMW (Bond movies), Jaguar, Ford, Ray Ban (Tom Cruise in Risky Business and Mission Impossible and Will Smith in Men In Black), Starbucks coffee, AOL, AT&T, and so on. My personal favorites are the brand fits created for Nike in What Women Want and for FedEx in Castaway. However, at this point it might be crucial to point out that what is important is that there is complete transparency in the agreement that the film-marketer and brand-marketer get themselves into. Otherwise things can get really dirty. Recall Rakesh and Hritik Roshan of Koi Mil Gaya vs Killer Jeans and Emami. Films are a different medium ad one bad placement can do more damage than 10 good placements. Artistic integrity is crucial for successful brand placements and the operation has to be woven into the script. Sometimes, unreasonable clients demand more footage although research has shown that a 2-minute clip can effectively deliver a message in a credible manner. The

placement should be a natural fit and shouldnt be contrived and unnatural. Each effective tie-up between a brand and a film involves hectic negotiations of around 3-6 months. There is no fixed formula but the factors that are taken into consideration MEDIAduring the negotiation stage include: cast and credits; size of the projects and the producers; timing of the release; brand impact; number of screens during release and post-release phase; and possibilities of brand associations through contests and promotions. Depending on the content of the film and its story line, the film-maker can sketch a profile of viewers who would flock to see the movie. Then the film-maker approaches all those brands who could appeal to the targeted viewers. This is followed by a 360 degrees marketing plan for cross-promotions during the various stages of a films release. Film placements are currently raking in anything between Rs 500,000 to Rs 5,000,000 for the producers. Well, welcome to the big, bad and ugly world of Bollywood, but also welcome to the world of dreams and passions. It is a world of opportunities and a land of ambitions. It is for sensible film-makers to come and grow as part of Bollywood, but remember good product + goo

On A Concluding Note The aggressive marketing followed in Bollywood could well be due to the influx of professionals like UTV Motion Pictures and Yash Raj Films which work in true corporate style in branding movies. In todays time, a movie might be great but sans an aggressive marketing campaign, it would be very difficult to have it make an impact at the box office. I would like to end here by quoting a few lines that super star Amitabh Bachchan has written on his blog, Good marketing has produced good results at the box office. That old belief that the merit of the film shall eventually emerge victorious has long since been overridden. By the time you wait for the merit to show its face, five other films have shown their merits.

Current market situation

Bollywood is the most well-known film producer in India, and therefore the name is often used to describe the whole film industry in India even though the industry is divided into many regional areas. The Bollywood production takes place in Mumbai earlier referred to as Bombay, hence the name Bollywood. The name also reflects the American counterpart Hollywood. Bollywood is the largest film producer in the world. They produce roughly 1000 movies a year. Hollywood only produces 500 and Japan produces 400 movies a year. The Bollywood industry had a revenue of US$ 3bn. in 2011, and has been growing at approx. 10,1% a year. The revenue is expected to reach US$ 4.5 bn. by 2016. Bollywood films are not only watched by people in India, also neighboring countries like Pakistan, Bangladesh, Nepal, Pakistan, Sri Lanka watch the movies. Moreover, countries with large groups of Hindi and Urdu speaking nationalities like Australia, UK, Africa and the US have many Bollywood fans. And lastly old trading partners like Russia and Japan are also buyers of Bollywood productions. The top five male actors receive between US$ 6 to 16 million a movie vs. female actresses that only receives about US$ 1 to 1.5 million a movie. Revenue generated from the ticket sales is only a small part of the industry. Celebrity endorsement and management have long been the major profit base for the industry as well as product placement that is becoming far more popular to integrate into the movies.

SWOT analysis of Bollywood

Strengths

Bollywood is no more a Made in India brand; Bollywood has become an international brand having its global presence in Asia, Africa, Europe, America and Australia. Bollywood produces more than 1000 films per year and has more than fourteen million viewers who visit theatres daily to watch Bollywood movies all over the world. Bollywood movies compete with Hollywood movies for their slots in theatres The volume of Bollywood movies released worldwide has become twice the number of Hollywood movies Bollywood gives employment to many lacks of people around the world Low budget movies have generated more revenues in box office hit Large customer base Low cost of production and high revenue Growing upper middle class so great future

Weaknesses

When referring to Value vs. Volume growth, Bollywood has more volume of movies released every year but very few movies get back their return on investments Many movies fail to make even a little impact to the audience as the movie release per month is very high Repetition of story script and duplication of music tracks seldom makes people to lose interest for movies

Bollywood movies spoil the rich Indian values and sentiments and inflict wrong culture in younger generations mind by influencing western practises and lifestyle Small producers cant shell out more money for their movie promotions and advertisements Film production sector highly fragmented Lack of distribution infrastructure Lack of penetration in lower socio-economic class

Opportunities

Viewers for Bollywood movie are increasing every year Slumdog Millionaire success which bagged more than $80 million revenue added new dimensions to Bollywood movies International brands like LOreal prefer Indian celebrities to be their brand ambassadors for their global market. Reliance Big entertainment has signed deals with production companies of Brad Pitt, George Clooney, Tom Hanks, Nicholas Cage, and Jim Carrey etc The overall Indian movie market is expected to grow at a rate of 14% YOY. Ficci-KPMG report has mentioned in its report that the revenues from Media and Entertainment (M&E) would reach INR 1.3 Trillion by the year 2015. Marketing in M&E has become very powerful with the help of viral marketing, for instance Why this Kolaveri was a straight away success. Rapid de-regulation in industry Global persepective are brighten

Threats

Government and sensor board regulations are becoming high due to the increase of adulthood and violence scenes in movies Pirated CDs and DVDs impose a major threat for this industry Movies are watched and shared across internet Many movies face legal issues and threats from political parties during their releases Negative reviews on websites and social media are major threats
Piracy, violation of intellectual property rights pose a major threat to the film making companies Lack of quality content

CASE STUDY ON RA.ONE

The Indian film industry or Bollywood, as it is popularly known, is one of the biggest and highest revenue generating industries in India. The Indian Film industry is a much bigger industry than Hollywood, as over 800 films are made every year, with approximately 15 million people in India going to theatres every single day to catch a glimpse of their favorite stars. Ever since its inception, movie making business has changed in leaps and bounces, and now it is a full-fledged business which requires management, advertising, promotion, operational processes etc. Over a period of decades, the Indian movie industry has churned out movies, some of them generating revenues of over Rs100 crore. However, in 2011 Indian super star Shah Rukh Khans magnum opus has redefined the ways movies are being marketed in India. Popular film star Shah Rukh Khans movie Ra.One had generated buzz even before the movie was to be released. With a marketing budget of around Rs52 crore, a staggering Rs15 crore is spent simply on online advertising.

Some of the innovative marketing strategies which have caught the imagination of a population of over a billion Indians and others are discussed below.

Budget
This movie was one of the most costly movie in the Indian history. The total budget of the movie was about 120 CRORES

.The movie has done MARKETING of about 52 CRORES for this movie spend by the SPONCERS Out of this about FIFTEEN CRORES were spend on ONLINE

Production and branding

The movies biggest USP is the presence of Bollywood film star Shahrukh Khan as a super hero. This concept in itself is very unique and has been used sparingly in the Indian film industry. The fact that Indias most popular film star, coming up in a new avatar, caught the imagination of everyone. Apart from this, roping in popular international singer Akon added a different dimension to the branding of the movie.

Advertising, marketing and co-branding

Newspapers, popular websites, magazines, music channels etc were and are all flooded with advertisement posters of the movie, showcasing to the people the unique characters much before the movie is released. Tie-ups with popular brands is also done as a part of co-branding and increasing the credibility of the movie.

MARKETING STRATEGY
The movie RA ONE have done a lot of marketing through the following ways
1. ONLINE MARKETING.

The movie have spent around 15 crores of rupees on the online marketing strategy It has its own official website with exclusive contents and updates of film. The movie had tie up with YouTube, GooglesG+ social network. Tie up with social networking sites like Go Jiyo,Twitter, Facebook.

2. TIE UPS WITH VARIOUS COMPANIES.

The movie have tied up with about 25companies like Nerolac HCL Mc Donalds Videocon Nokia Force India
3. PROMOTION AMOUNG KIDS THROUGH MERCHENDISES

AND GAMES. Shahrukh Khan have marketed a lot amongst kids through various products and merchandises like. Merchandises Games Action Figure Comics

4. STARTED MARKETING EVEN BEFORE SHOOTING STARTED.

Selling movie rights

Even before its release, Ra.One managed to earn a revenue of Rs132 crore simply by giving away the rights of the movie. The brand equity of film star Shahrukh Khan is unparalleled and his presence in the movie gives a huge boost to distributors and companies to get associated with the brand. Star India got the rights for Ra.One at around Rs40 crore. Apart from this, the music rights were bought for Rs15 crore by T-Series. The producers got a whopping Rs77 crore from Eros Entertainment to own the distribution rights of the movie. The Broadcasting rights of the movie was sold to STAR for about THIRTY TO FOURTY CRORES The distribution rights for the film in TamilNadu and Kerala were bagged by Abirami Ramanathan and Eros International inInternational market Audio rights of the movie was taken by T Series

Merchandising
As far as Bollywood is concerned, no movie has been associated with exclusive movie merchandise products. Krish tried that but was not too successful not it was handled too professionally as is in the case of Ra.One. Merchandising enables the target audience to relate to the brand and helps them become a part of the product. Ra.One is the first movie in India to come up with an all exclusive store having merchandise for the people to purchase. Toys, computer accessories, t-shirts, apparels, stationery, coffee mugs, wrist bands, watches etc were all a part of the merchandising available online as well as at popular destinations like McDonalds. They promoted the movie through 360 degree marketing by launching various RA ONE merchandises like G BALLS RA ONE FRISBEE

 STATIONARY NOTE BOOKS WRIST BANDS AND MANY MORE.

Video Games and Comics

While video games related to movies are a popular concept in Hollywood, it is a fairly new concept in Bollywood. Sony along with Red Chillies released a Play Station 3 game for Ra.One featuring all the characters. Also, it was the first movie to come up with a comic series showcasing the characters and promoting the film. Even iPad and Android apps are available for Ra.One movie. Aamir Khan had also done the same thing with Ghajini when he launched a PC game. The RED CHILLIE ENTERTAINMENT had a tie upwith the Sony Computer Entertainment Europe to manufactured and launch a game on RA ONE for the PLAY STATION platform. It was the first of its kind to be done by any Bollywood star.

Release and Premiere

The movie would be released at over 3000 screens in India and over 1000 screens overseas. Apart from this, premieres at international destinations like Dubai, Toronto and London, which have a high popularity for Indian films are on cards. Due to various new marketing strategies adopted by the producers of the movie, Ra.One managed to generate a lot of positive word of mouth. If not for its success, this movie would definitely prove to be a landmark in the Indian film industry for its advertising and marketing strategies.

MARKETING MIX OF RA.ONE

PRODUCT
They have launched the movie in 2D and 3D versions. Various languages were used to attract lots of people.

PRICE
The movie was released with an affordable price so that everyone can watch the movie.

PLACE
Movie was released in India with3000 prints In overseas with about 500 prints It was also released in multi languages like Tamil, Telgu and English The movies was released in multiplexes as well as single screened theatres .

PROMOTION
It was promoted online through YouTube and Other various Social Networking sites. 360 degree promotion through merchandise, games , comic etc

PEOPLE

 The use of International star as AKON and TOM WU. Special guest appearance by Bollywood stars like Sanjay Dutt and Priyanka Chopra.

PROCESS
They provided the tickets availability through website They provided a facility of telephonic booking of tickets .

PHYSICAL EVIDENCE
Big STARS like Shahrukh Khan and Kareena Kapoor were there to attract a lot of audience. Songs were sung by AKON which attracted an audience from International and Indian market

INTERVIEW 1) What are the components of a popular bollywood film??

MR. Mukul Abhyankar said that there are various components of a popular bollywood film some of them are- The ideal cast of the film, the script/story of the film, the location of the film & the music of the film, the dialogue of the film shall be attractive etc.

2) What determines the costing/budget of a film? How do you decide upon the locations for the film with respect to the budget of a film?
Basically here MR. Abhyankar said the cost /budet of the film are that the crew of the film, the cast of the film .With respect to budget of the film, the films specific locations are decided. The other cost included in a film are the daily payments to choreographers, and the background dancers and the side actors, actors accommodation etc, are some of the expenses that determines the cost of the film. The locations of the decided with respect to the budget of the film. MR. Abyankar stated that if the budget of the movie is low then most of the shoots are done in India, Thailand because of they provide good packages and its quite cheap. If its high the shoot can be done outdoor depending upon the script of the film.

3) How is the distribution of movie rights done?? If you could throw light on the negotiation process with distributors??
MR. Abhyankar has being doing small budget film. He said that in a small budget the film or a movies is sold to a big client or to a distributor. It is then decided what is to be done with the films distribution. Here typically a distributor buys rights for a 'territory' and recovers costs from the exhibition of the film. The distributor buys into the risk with the producer. If a filmmaker does not sell all distribution rights in the film to a single company, either because the filmmaker cannot or does not want to secure this type of deal, a filmmaker can split the rights, or in other words enter into more than one licensing arrangement according to specified countries and/or media. With respect to the negotiation process with distributors, they would go through the balance sheets and the distributors will also asses how the film has done.

4) What are the marketing strategies used to promote a particular film??

Some of the marketing strategies stated by MR.Abyankar to promote a particular film are by realizing the promos in theaters, internet or through Telivision. Promotions done through T.V programs ,through music channels . Promoting the movies in malls etc are some of the movie marketing strategies.

5) What determines your choice of actors for a particular film??

According to MR Abyankar the choice of actors for a particular film mainly depends upon script of particular movie . If the character suits or goes perfectly suited for a particular actor then the role is given on those basis.

6) Is the target audience kept in mind while deciding a particular movie??

According to MR Abyankar there no such kind of target audience kept in mind while deciding a movie. The entire focus goes on the script of the movie .If the script of the movie is entertain the cast of the movie then it will automatically entertain most of the audience .

7) What are the peculiar characteristics of todays audience & how do you cater to their changing preferences?
According to MR Abyankar the peculiar characteristics of todays audience is that most of the audience need a good and a entertaining film. They basically want the filmmakers to come up with innovations in the script. Catering to to their changing preferences is quite difficult task. Basically they look to the views and suggestions of majority of the audience & hence come up more and more innovative ideas and variations in the movie which would be liked by the audience.

8).How do you determine the price of a particular film in multiplexes??

Small time producers basically sell their rights to exhibitors & it is the exhibitors then sell it to multiplexes. Either the exhibitor or the multiplexes decide weather to keep the price of a movie ticket high or low.

9) Explain some of the growing trends in the Indian film industry??

Conversion from 2D to 3D ,the growing success of Indian movies abroad and the intrend of western music in bollywood are some of the growing trends of the Indian film industry according to MR Abyankar.

10) How do you ensure all stakeholders of the film work towards one common goal??
According to MR Abyankar stakeholders come together with one goal in mind FANTASTIC RELEASE. Further he went on to add saying that there two types of stakeholders in a film industry 1) Creatively oriented they include directors, artists, producers who basically strive hard for success of the film. 2) Financially oriented - they include exhibitors, financers of the movie, banks etc who basiclly visualize as a profit point of view from the movies.