Introduction

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BRAND
A brand is a product, service or concept that is publicly distinguished from other products, services or concepts so that it can be easily communicated and usually marketed. A brand name is the name of the distinctive product, service or concept.

Branding is the process of creating and disseminating the brand name. Branding can be applied to the entire corporate identity as well as to individual product and service names.

BRAND POSITIONING

Brand positioning refers to target consumers reason to buy your brand in preference to others. It ensures that are brand activity has a common aim is guided, directed and delivered by the brands benefit/reason to buy and it focuses at all points of contact with consumers.

PRODUCT POSITIONING

In marketing, positioning has come to mean the process by which marketers try to create an image or identity in minds of their target market for its product, brand or organization. It has two parts Re-positioning and De-positioning.

Re-positioning involves changing the identity of a product relative to the identity of competing product in the collective mind of the target market.

De-positioning involves attempting to change the identity of competing products relative to the identity of your own products in the collective mind of the target market.

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Concept

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Concept
In order to create a distinctive place in the market as niche market has to be carefully chosen and a differential advantage must be created in their mind. Brand positioning is a medium through which an organization can portray its customers what it wants to achieve for them and what it mean to them. Brand positioning forms customers view and opinions.

Brand positioning involves identifying and determining points of similarity and difference to ascertain the right brand identify and to create a brand image. Brand positioning is the key of marketing strategy. A strong brand positioning directs marketing strategy by explaining the brand details, the uniqueness of brand details and its similarity with the competitive brands as well as the reasons for buying and using the specific brand positioning in the base of developing and increasing the required knowledge and perceptions for the customers.

The concept of brand positioning calls for becoming the first mover and pioneer brand in any attribute in any chosen customer segment. When there is a vacant slot in any particular attribute, anything new will easily get noticed. Amitabh Bachchan easily got success with the positioning as angry young man as he was the first mover in that segment. The positioning strategy of being a pioneer has helped many actors to get through the tough competition in Bollywood and has made them iconic players in the Indian film industry.

More generally, there are three types of positioning concepts:

1. Functional positions
o o o

Solve problems Provide benefits to customers Get favorable perception by investors stock profile and lenders

2. Symbolic positions
o o o o

Self-image enhancement Ego identification Belongingness and social meaningfulness Affective fulfillment
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3. Experiential positions
o o

Provide sensory stimulation Provide cognitive stimulation

Product Positioning Process

Generally, the product positioning process involves: 1. Defining the market in which the product or brand will compete (who the relevant buyers are) 2. Identifying the attributes (also called dimensions) that define the product 'space' 3. Collecting information from a sample of customers about their perceptions of each product on the relevant attributes 4. Determine each product's share of mind 5. Determine each product's current location in the product space 6. Determine the target market's preferred combination of attributes (referred to as an ideal vector) 7. Examine the fit between: o The position of your product o The position of the ideal vector 8. Position.

The process is similar for positioning your company's services. Services, however don't have the physical attributes of products - that is, we can't feel them or touch them or show nice product pictures. So you need to ask first your customers and then yourself, what value do clients get from my services? How are they better off from doing business with me? Also ask: is there a characteristic that makes my services different? Write out the value customers derive and the attributes your services offer to create the first draft of your positioning. Test it on people who don't really know what you do or what you sell, watch their facial expressions and listen for their response. When they want to know more because you've piqued their interest and started a conversation, you'll know you're on the right track.

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WHY THE POSITIONING STRATEGY IS IMPORTANT

More often than not, when a brand struggles, its because theyve strayed from their brand positioning strategy or constructed a faulty one. Unfortunately, to inexperienced marketers, that fact isnt always obvious.

The positioning strategy so important because theyre a tiny little business plan boiled down to one sentence. Granted, sometimes its a long sentence. But it succinctly defines the target, their pain point, the category in which the brand competes, their differentiated benefits, and what the company must do to prove those differentiated benefits to the customer.

Assuming it hasnt just become a wordsmithing exercise (grrrr) developing a brand positioning strategy forces the company to consider what they need to do to be successful. Philip Kotler, one of the worlds foremost experts on marketing, calls the practice of brand building the art and cornerstone of marketing.

Experienced marketers know that when a brand is struggling, one of the first things to examine is the brand positioning strategy. Thats likely why Sears CMO Richard Gerstein commented in a recent article, that a key aspect of his plan to revive the Sears brand will be to make sure that the overall customer experiencemerchandise, in-store, service and marketingare the best that they can be and working together to create a differentiated proposition that makes someone come to Sears versus going somewhere else.

Its also why Starbucks CEO Howard Shultz recently shut all U.S. stores for 3 hours to retrain staff to properly execute Starbucks unique positioning.

Im not sure why positioning strategies are so often overlooked by companies. Maybe its because positioning strategies arent easy to create. After all, when theyre done right, a whole lot of research and thinking goes behind the construction of that one line positioning statement

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maybe its because so many terms are used to describe the same thing. Brand positioning strategies are variously referred to as positioning strategies, brand strategies, and positioning statements, but they all mean the same thing. Maybe its because using the term brand, sounds fluffy, or maybe they are confused about what brand means. Its not unusual for some people, when they talk about brand, to refer to the brand identity: the logo, name, tagline, etc. Its easier to define something when you can see it. But focusing on the visual identity alone overlooks the critical importance of the strategic elements of a brand. Companies who take the time understand and construct a brand positioning strategy wont necessarily find that their challenges disappear. But they will have a better understanding of what to do to achieve their objectives.

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History of Bollywood Movies

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Cinema of India
The cinema of India consists of films produced across India, including the cinematic culture of Mumbai along with the cinematic traditions of states such as Andhra Pradesh, Assam, Karnataka, Kerala, Punjab, Tamil Nadu and West Bengal. Indian films came to be followed throughout South Asia and the Middle Eastwhere modest dressing and subdued sexuality of these films was found to be acceptable to the sensibilities of the audience belonging to these regions. As cinema as a medium gained popularity in the country as many as 1,000 films in various languages of India were produced annually. Expatriates in countries such as the United Kingdom and the United States continued to give rise to international audiences for Hindi-language films, some of whichaccording to the Encyclopdia Britannica (2009) entry on Bollywood continued to carry "formulaic story lines, expertly choreographed fight scenes, spectacular songand-dance routines, emotion-charged melodrama, and larger-than-life heroes." This is contrasted by the 'Parallel Cinema' movement, prominent in Bengali cinema, cinema, Malayalam and other regional industries, known for its serious content, realism and naturalism.

Overview
Charu Roy and Seeta Devi in the 1929 film, Prapancha Pash. In the 21st century, Indian cinema, along with the American and Chinese film industries, became a global enterprise.Enhanced technology paved the way for up gradation from established cinematic norms of delivering product, radically altering the manner in which content reached the target audience. Indian cinema found markets in over 90 countries where films from India are screened. The country also participated in international film festivals. Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. 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. India is the world's largest producer of films, producing close to a thousand films annually. About 600 of the total films produced are in Telugu and Hindi, approximately 300 each, while the remaining are in other languages. However, Hindi films account for about half of the total

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revenue generated by cinema in India.The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros. Prominent Indian enterprises such as Zee, UTV and Adlabs 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 Indian diaspora constitutes of millions of Indians overseas for which films are made available both through mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible. These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to the overall revenue of Indian cinema, the net worth of which was found to be 1.3 billion US Dollars in 2000. Facilities for film production in the country include Ramoji Film City in Hyderabad, the home of Telugu film industry, the largest film studio complex in the world as certified by Guinness World Records. Music in Indian cinema is another substantial revenue generator, with the music rights alone accounting for 4-5% of the net revenues generated by a film in India.

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History

A scene from Raja Harishchandra (1913) - The first full-length motion picture.

Devika Rani and Ashok Kumar in Achhut Kanya (1936). Following the screening of the Lumire moving pictures in Paris (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 full-length motion picture in India was produced by Dadasaheb Phalke, a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913). (Interestingly, 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. During the early twentieth century cinema as a medium gained popularity across India's population and its many economic sections. Tickets were made affordable to the common man at a low price and for the financially capable additional comforts meant additional admission ticket price.Audiences thronged to cinema halls as this affordable medium of entertainment were

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available for as low as an anna (4 paisa) in Bombay. The content of Indian commercial cinema was increasingly tailored to appeal to these masses. Young Indian producers began to incorporate elements of India's social life and culture into cinema. Others brought with them ideas from across the world. This was also the time when global audiences and markets became aware of India's film industry. Ardeshir Irani released Alam Ara, the first Indian talking film, on 14 March 1931. Following the inception of 'talkies' in India some film stars were highly sought after and earned comfortable incomes through acting. As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabha and Devi Devyani marking the beginning of songand-dance in India's films. Studios emerged across major cities such as Chennai, Kolkata, and Mumbai as film making became an established craft by 1935, exemplified by the success of Devdas, which had managed to enthrall audiences nationwide. Bombay Talkies came up in 1934 and Prabhat Studios in Pune had begun production of films meant for the Marathi language audience. Filmmaker R. S. D. Choudhury produced Wrath (1930), banned by the British Raj in India as it depicted actors as Indian leaders, an action censored during the days of Indian independence movement. The Indian Masala filmslang 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. Following independence the cinema of India was inquired by the S.K. Patil Commission. S.K. Patil, Head of the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its commercial value. Patil further recommended setting up of a Film Finance Corporation under the Ministry of Finance. This advice was later taken up in 1960 and the institution came into being to provide financial support to talented filmmakers throughout India. The Indian government had established a Films Division by 1949 which eventually became one of the largest documentary film producers in the world with an annual production of over 200 short documentaries, each released in 18 languages with 9000 prints for permanent film theaters across the country.
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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 of India's most recognizable cinematic productions.

Golden Age of Indian Cinema

Wide open eyes, a continual motif in Satyajit Ray's The Apu Trilogy (1955-1959).

Guru Dutt in Pyaasa (1957), for which he was the director, producer and leading actor. Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema. Some of the most critically acclaimed Indian films of all time were produced during this period. In commercial Hindi cinema, examples of famous films at the time include the Guru Dutt films Pyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life. Some of the most famous epic films of Hindi cinema were also produced at the time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign
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Language Film, and K. Asif's Mughal-e-Azam (1960). V. Shantaram's Do Aankhen Barah Haath (1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967). Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. Other mainstream Hindi filmmakers at the time included Kamal Amrohi and Bhatt. While commercial Indian cinema was thriving, the period also saw the emergence of a new Parallel Cinema movement, mainly led by Bengali cinema,only examples of films in this movement include Chetan Anand's Neecha Nagar (1946), Ritwik Ghatak's Nagarik (1952), and Bimal Roy's Two Acres of Land (1953), laying the foundations for Indian neorealism and the "Indian New Wave". Pather Panchali (1955), the first part of the The Apu Trilogy (1955-1959) by Satyajit Ray, marked his entry in Indian cinema. The Apu Trilogy won major prizes at all the major international film festivals and led to the 'Parallel Cinema' movement being firmly established in Indian cinema. Its influence on world cinema can also be felt in the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties" which "owe a tremendous debt to the Apu trilogy". Satyajit Ray and Ritwik Ghatak went on to direct many more critically-acclaimed 'art films', and they were followed by other acclaimed Indian independent filmmakers such as Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. During the 1960s, Indira Gandhi's intervention during her reign as the Information and Broadcasting Minister of India further led to production of off-beat cinematic expression being supported by the official Film Finance Corporation. The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an importance influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part of The Apu Trilogy. Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacks and Xray digressions while filming Pratidwandi (1972). Ray's 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven Spielberg's E.T. (1982). Some of Ritwik Ghatak's films also have strong similarities to later famous international films, such as Ajantrik (1958) resembling the Herbie films (19672005) and Bari Theke Paliye (1958) resembling Franois Truffaut's The 400 Blows (1959).
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Other regional industries also had their 'Golden Age' during this period. Commercial Tamil cinema experienced a growth in the number of commercially successful films produced. Some of the most famous Tamil film personalities at the time included M. G. Ramachandran, Sivaji Ganesan, M. N. Nambiyar, Asokan and Nagesh. Marathi cinema also ushered in a 'Golden Age' at this time, with some of its directors such as V. Shantaram later playing in instrumental role in mainstream Hindi cinema's 'Golden Age'. Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Indian films were frequently in competition for the Palme d'Or at the Cannes Film Festival for nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival. Satyajit Ray also won the Golden Lion at the Venice Film Festival for Aparajito (1956), the second part of The Apu Trilogy, and the Golden Bear and two Silver Bears for Best Director at the Berlin International Film Festival. Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but had belatedly generated international recognition much later in the 1980s and 1990s. Ray is regarded as one of the greatest auteurs of 20th century cinema, while Dutt and Ghatak are also among the greatest filmmakers of all time. In 1992, the Sight & Sound Critics' Poll ranked Ray at #7 in its list of "Top 10 Directors" of all time, while Dutt was ranked #73 in the 2002 Sight & Sound greatest directors poll. A number of Indian films from this era are often included among the greatest films of all time in various critics' and directors' polls. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The Apu Trilogy (ranked #4 in 1992 if votes are combined), The Music Room (ranked #27 in 1992), Charulata (ranked #41 in 1992) and Days and Nights in the Forest (ranked #81 in 1982). The 2002 Sight & Sound critics' and directors' poll also included the Guru Dutt films Pyaasa and Kaagaz Ke Phool (both tied at #160), the Ritwik Ghatak films Meghe Dhaka Tara (ranked #231) and Komal Gandhar (ranked #346), and Raj Kapoor's Awaara, Vijay Bhatt's Baiju Bawra, Mehboob Khan's Mother India and K. Asif's Mughal-eAzam all tied at #346. In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked #1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied at #11). In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu Trilogy (ranked #5
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if votes are combined). In 2005, The Apu Trilogy and Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.

Modern Indian cinema

A scene from Adoor Gopalakrishnan's Mathilukal (1989). 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 and G. Aravindan in Malayalam 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 reallife smuggler Haji Mastan", portrayed by Amitabh Bachchan, it was described as being absolutely key to Indian cinema by Danny Boyle. Commercial cinema further grew throughout the 1980s and the 1990s with the release of films such as 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 Aamir Khan, Salman Khan and Shahrukh Khan.

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Roja, the village girl played by Madhoo, in Mani Ratnam's Tamil feature film Roja (1992). The 1990s also saw a surge in the national popularity of Tamil cinema as films directed by Mani Ratnam captured India's imagination. Such films included Roja (1992) and Bombay (1995). Ratnam's earlier film Nayagan (1987), starring Kamal Haasan, was included in Time magazine's "All-TIME" 100 best movies, alongside four earlier Indian films: Satyajit Ray's The Apu Trilogy (1955-1959) and Guru Dutt's Pyaasa (1957). Another Tamil director S. Shankar who made waves through his Kadhalan very famous for its songs ,dance and graphics which was big at that time in India. The South Indian film industry not only released cinema with national appeal but also featured multicultural music, which found appreciation among the Indian audience. Some Tamil filmi composers such as A. R. Rahman and Ilaiyaraaja have since acquired a large national, and later international, following. Tabarana Kathe, a Kannada cinema was screened at Various Film Festivals including Tashkent, Nantes, Tokyo and the Film Festival of Russia. Rahman's debut soundtrack for Roja was included in Time Magazine's "10 Best Soundtracks" of all time, and he would later go on to win two Academy Awards for his international Slumdog Millionaire (2008) soundtrack. Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala 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. Shaji N. Karun's debut film Piravi (1989) won the Camera d'Or at the 1989 Cannes Film Festival, while his second film Swaham (1994) was in competition for the Palme d'Or at the 1994 Cannes Film Festival.

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Bhuvan (Aamir Khan) with his cricket team consisting of village-folk, in Ashutosh Gowarikar's Lagaan (2001). 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 of Mumbai. 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), and Irfan Kamal's Thanks Maa (2009). Other art film directors active today include Mrinal Sen, Buddhadeb Dasgupta, Gautam Ghose, Sandip Ray, Aparna Sen and Rituparno Ghosh in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun and T. V. Chandran in Malayalam cinema; Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal, Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das in Hindi cinema; Mani Ratnam and Santosh Sivan in Tamil cinema; and Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh and Sooni Taraporevala in Indian English cinema.

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Influences

Prasads IMAX Theatre houses at hyderabad, the largest IMAX-3D in the world.

PVR Cinemas in Bangalore is one of the largest cinema chains in India

MG Road Gurgaon, the longest street of malls, restaurants, cafes et cetera in Asia.

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 and Ramayana 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. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish. 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. The third influence was the traditional folk
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theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu. The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft." These influences are evident in the masala film genre that began with Manmohan Desai in the 1970s. 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. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways." The final influence was Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be seen in the pace, camera angles, dance sequences and music of recent Indian films. An early example of this approach was in Mani Ratnam's Bombay (1995). In contrast to mainstream Indian popular cinema, Indian Parallel Cinema was influenced by a combination of Indian theatre (particularly Sanskrit drama), Indian literature (particularly Bengali literature), and European cinema (particularly Italian neorealist and French poetic realism). Satyajit Ray cited Italian filmmaker Vittorio De Sica's Bicycle Thieves (1948) and French filmmaker Jean Renoir's The River (1951), which he assisted, as influences on his debut film Pather Panchali (1955). Besides the influence of European cinema and Bengali literature, Ray is also indebted to the Indian theatrical tradition, particularly the rasa theory of classical Sanskrit drama. The complicated doctrine of rasa "centers predominantly on feeling experienced not only by the characters but also conveyed in a certain artistic way to the spectator. The duality

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of this kind of a rasa imbrication" shows in The Apu Trilogy. Bimal Roy's Two Acres of Land (1953) was also influenced by De Sica's Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time as the French New Wave and the Japanese New Wave.

Bollywood

Nargis and Raj Kapoor in Awaara (1951), also directed and produced by Kapoor. Main article: Bollywood The Hindi language film industry of Mumbaialso known as Bollywoodis the largest and most popular branch of Indian cinema. The term "Bollywood" is sometimes incorrectly applied to Indian cinema as a whole, especially outside South Asia and the South Asian diasporas. Bollywood initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959). International visibility came to the industry with Raj Kapoor's Awara. Bollywood grew during the 1990s with the release of as many as 215 films in 1991. With Dilwale Dulhania Le Jayenge, Bollywood registered its commercial presence in the Western world.In 1995 the Indian economy began showing sustainable annual growth, and Bollywood, as a commercial enterprise, grew at a growth rate of 15% annually. With growth in commercial appeal the earnings of known Bollywood stars such as Shahrukh Khan reached 30 million rupees per film by the year 2000. Female stars such as Madhuri Dixit, too, earned as much as 12.5 million rupees for a film. Many actors signed contracts for simultaneous work in 3-4 films. Institutions such as the Industrial Development Bank of India also came forward to finance Bollywood films. A number of magazines such as Filmfare,Stardust, Cineblitz etc. became popular.

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Brand Positioning of Indian Movies

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Brand Positioning of Indian Movies

Every market today is facing the problem of rising competition. The competition has made it difficult for traditional businesses to survive in the market. Change is the need of hour and businesses with traditional thinking cannot survive for long. Businesses everyday is finding new ways of fighting in this competitive world. Bollywood is also not been left untouched with this dragon competition. Every filmmaker is trying new ways of capturing more and more audience for his/her movies and Brand positioning is one of the techniques which filmmakers think can get a super hit board on the ticket counters in cinemas for their movies. Brand positioning is giving reasons to the customer to buy a companys product over its competitors product. Therefore filmmakers are also using this concept for their movies for giving reasons to the audiences to watch their films over other filmmakers films. Before launching the film a position of the film is created in the minds of audiences so, that the audience can carry a certain image of the movie in their minds before even watching it. It helps in motivating the audience to come and watch the movie so that they can match the actual movie with the image of the movie which they have created in their minds.

Brand Positioning of Bollywood from 2000 to 2009

Film
Munnabhai MBBS Chak De India Rang de Basanti Nachle

Year
2003 2007 2007 2008

Impact
Comedy with learning Motivation,Leadership Rebellious Dance based film

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Although the use of brand positioning is highlighted in movies these days only but the use of this concept is not new in Indian Cinema. The examples mentioned under represent some of the movies of Indian cinema which has followed the brand positioning in earlier days:

Pioneer Brands of Bollywood from 1990 to 2000

Film
Ghayal Phool Aur Kantein Khiladi DDLJ Collie no. 1

Actor
Sunny Deol Ajay Devgan Akshay Kumar Shahrukh Khan Govinda

Year
1990 1991 1994 1995 1995

Image
Robust Action Action Romantic Govinda

Pioneer Brands of Bollywood from 1980 to 1990

Film
Kranti Rocky Ankush Chandani Guru

Actor
Manoj Kumar Sanjay Dutt Nana Patekar Rishi Kapoor Mithun

Year
1981 1981 1986 1989 1989

Image
Patriotic Romantic Whimsical Romantic Romantic

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Pioneer Brands of Bollywood from 1970 to 1980

Film
Zanzeer Sholay Deewar

Actor
Amitabh Bachchan Amitabh Bachchan Amitabh Bachchan

Year
1973 1975 1975 1977 1978

Image
Angry Young Man Angry Young Man Angry Young Man Angry Young Man Angry young Man

Amar Akbar Anthony Amitabh Bachchan Trishul Amitabh Bachchan

Pioneer Brands of Bollywood from 1960 to 1970

Film
Mughal-E-Azam Sahib Biwi or Ghulam Anpadh Guide Waqt Aradhana

Actor
Dilip Kumar Guru Dutt Dharmendra Dev Anand Raj Kumar Rajesh Khanna

Year
1960 1962 1962 1965 1965 1969

Image
Romantic Serious Romantic Romantic Dialogue Delivery Romantic

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Brand Positioning of Indian Actors

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Brand positioning is not limited to movies only but actors also are now used for the films promotion purposes and positioning the brand in the audiences minds. Some of the examples are mentioned below:

Period

Brand

Positioned as
Robust

Reinvented as

Success

Early 1990s Mid 1990s

Sunny Deol

Angry protagonist of Ghayal,Arjun justice Comedy Munnabhai MBBS Wanted

Sanjay Dutt

Robust and Giant

Late 1990s and early 2000 Late 2007 Late 2008

Salman Khan

Romantic

Action

Shahrukh khan Aamir Khan

Romantic Romantic

Robust Robust

Om Shanti Om Ghajini

Brand positioning was also used earlier and different actors were positioned differently in the minds of audiences. All actors were carrying a separate image and the audience use to guess the films story with the kind of actor acting in the movies. The examples mentioned under represent some of the actors of Indian cinema which positioned differently in earlier days:

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Period
1970-2009

Pioneered Brand
Amitabh Bachchan

Pioneered Position
Angry Young Man

Won the competition from

Sunil Dutt,Dharmendra,Shatrughan Sinha,Vinod Khanna

1960-1980

Rajesh Khanna

Romance

Shashi Kapoor,Jeetendra,Vijay Arora Amitabh Bachchan,Sunil Dutt,Shatrughan Sinha,Vinod Khanna Almost all contemporary actors Almost all contemporary actors Aaftaab shivdasani,Ritesh Deshmukh Ajay Devgan,Salman Khan, Amir Khan

1960-1990

Dharmendra

Action

1960-1980

Jeetendra

Dance

1950-1980

Dilip Kumar

Tragedy

1993-2009

Govinda

Comedy

1993-2009

Shahrukh Khan

Romance

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Brand Positioning in Movies

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The Best Promotion Strategy of

GHAJINI

1. Khan had called multiplex owners to his Lonavala farm house and discussed with them how to market Ghajini. In fact what led to many employees of various multiplex supporting the popular Ghajini hair cut. These were marketing tools that were devised by not any marketing guru but Khan himself. 2. Samsung launched several Ghajini mobiles phone models. 3. Van-Heusen launched a clothing line inspired by the movie. 4. Tata indicom had Khans voice as a prerewarded message which asked the caller if he was Ghajini. 5. Tata sky ran a programme on how Khan got his eight packs abs. 6. Khan does not do more than one movie in a year which raised curiosity amongst audience. 7. The official promotion of the film is set to begin around Diwali time. 8. Positioned the dummy of himself outside the multiplexes at the time of the release of Om Shanti Om. 9. The promotional strategies included viral marketing, ambush marketing, television advertising,
multiplex promotion, tie-ups with several well-known brands, and merchandising. In addition to this, a 3D PC game based on the film was also launched. 10. The distribution strategy was also unique. The makers of Ghajini had raised the bar for film promotion in India. The rules of film promotion have changed as film makers were becoming more and more aggressive in their marketing strategies in their bid to ensure that the movie was viewed by the maximum number of people.

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The Promotion Strategy for Other Movies

SRK donned the much hyped six pack abs and Farah went to all over the industry to promote the film. Promotion through tag "Hate it or Love it you simply can't ignore it". Promotion through the trios Dhoni-Deepika-Yuvraaj affair.

Madhur-Kangana-Priyanka publicly seen together in reality shows,functions,parties,interviews. Kangana played real life story of Geetanjali Nagpal.

He is 44 but seems like a 20 years old young guy.Sachin Tendulkar is promoting the film through a riddle. Amir Khan having a live chat with fans. Got in touch with fans through social networking websites & even launch the music of the film online.

How Actors Positioned Themselves

Before Singh is Kinng he changed his looks like a Sardar & in Chandni Chowk to China he represented himself as a villager according to demand of the movie.

Before Love Aaj Kal he gave himself a look of a Sardar.Took botox treatment before the movie. Before Tashan the affair of Kareena & Saif was on the air.

Before the release of his movie he moulds his character according to his movie like his hair style,his looks and body too. He uses different promotion strategy that is never taken by others. For example: Ghajini,Mangal Pandey, 3 Idiots,RDB etc.
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Conclusion

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Conclusion
Brand positioning is playing a vital role in the marketing of bollywood movies. Directors and producers are taking initiative to create a brand image of actors. Advertisements, T.V. realities shows, wallpapers, dial tones, caller tunes are helping to build brands. Producers involve in marketing and create a big amount of profit with the help of brand image. Brand impacts on number of screens during releases and forthcoming releases. An image has become an emotional part of everyones mind. In short, adopting and implementing brand positioning can earn huge success in any industry and bollywood is no exception.

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References

http://www.musicnmovies.info/index.php/2005/12/exclusives http://moovyshoovy.com/hindi_movie_list.php?era=195/changing-face-of-bollywood/ http://bollybusiness.wordpress.com/2009/11/16/70s80s-was-the-era-when-least-profitable-movieswere-declared-flops-gaurav-verma/ http://www.chakpak.com/photo/fashion/305000?gtype=mp&gdata=18903&index=5 http://www.glamsham.com/download/wallpaper/movies/humtum.asp http://www.apunkachoice.com/dyn/movies/hindi/3_idiots/ http://www.bollywoodhungama.com/movies/wallpapers/12948/index.html http://www.bollywoodhuhttp://www.santabanta.com/wallpapers/category.asp?catname=rang%20de% 20basantingama.com/movies/wallpapers/12950/index2.html http://www.indiaglitz.com/channels/hindi/moviewallpapers/7168.html http://www.business-standard.com/india/storypage.php?autono=364410 http://movies.ndtv.com/movie_story.aspx?Section=Movies&ID=ENTEN20090120935&subcatg=MOVIESI NDIA&keyword=bollywood http://www.thaindian.com/newsportal/entertainment/amitabh-aamir-to-discuss-marketing-strategiesfor-paa-3-idiots_100275137.html http://www.bollywoodhungama.com/movies/wallpapers/13397/index1.html http://www.masala.com/9123-ghajini-hairstyle-competition

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