EVOLUTION OF FILM MARKETING IN INDIA < Cause -You Got the Power

EVOLUTION OF FILM MARKETING IN INDIA

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The Hindi Film Industry better known as Bollywood  will complete 100 glorious years in2013.Bollywood has come a long way from the release of India’s first silent featurefilm Raja Harishchandra directed by Dadasaheb Phalke in 1913 which was released withjust 4 prints to 2012 where movies are releasing with 3000+ odd prints. Bollywood isone of the biggest film industry in the world contributing around $ 640 millionannually and the world’s largest film ticket market with 3.3 billion tickets soldevery year (Source: Motion Pictures Association). So how has the evolution to generatemoney for 107 Hindi film releases in the year 2011 from just 20 movies per annum inthe 1930’s?

A film like ‘Ek Tha Tiger’ had 3300 prints released all over the world which was unheardof previously. Today many movies are grossing 100+ crores at the box office in thefirst week of release itself and this box office success is mainly because of the hypeand buzz which and this term 100 crores is becoming an inspiring figure which each andevery movie maker wants to achieve. Everyone is in a race to enter the esteem 100crores club which has become the benchmark for movies. As the number of multiplexesand income level of the people is increasing so is the marketing budgets of the moviesto generate ample hype before the release. Let’s trace the journey of film marketingin the Indian Film Industry through various channels.

Image Courtesy: Indian Express

Posters and magazines

Post independence Indian film industry gained a momentum and historians call theperiod of 1950s as the golden age of Indian cinema. Movies like Awara, Mother India, Pyaasa,Kaagaz ke Phool were released in the 1950’s. The movies mainly relied on hand paintedposters which were used for Out of home publicity like billboards and wallposters.These were a few simple marketing campaigns used by producers to draw theattention of the movie-goers. In those days the concept of PR (Public Relations) didnot existed and actors did not gave interviews to the media, nor did they attendparties and thus the movies at that time did not generate any hype or buzz. The 1970’ssaw the advent of radio where slots were sold for commercial advertisement. Filmfestivals, premieres and awards were covered by the media. The International filmfestival of India became an annual event in 1974. This became a huge grand affair togain space in newspapers and film magazines. VCR’s came in the market in 1970s whichprovided an alternate source of entertainment from the sole channel Doordarshan. Thislead to increase in the number of movie watchers who could see movies at home ratherthan theatres.

Television

Early 1990s opened the doors for cable and satellite television in India post the GulfWar, no longer the viewers were confined to only one channel ‘Doordarshan’. Satellitechannels like Zee TV and Sony changed exposed viewers to new content. Mix genre movieslike romantic, thriller, action and comedy were released and the viewers were spoiltfor choices. The promos and songs of the movie started playing on the TV channels andcreated necessary hype prerelease. Technology evolution helped to replace paintedposters by modern digital ones. What is great and unique about Bollywood is thatthough television was and is its biggest competitor it looked at it as a medium toreach its target audience. Today all movie makers use reality shows like Indian Idol,Saregamapa, and Big Boss to promote their films. ShahRukh Khan the producer of Ra-Onevisited each and every reality show to promote his movie.

Alternate channels

Another new trend which is emerging today is advertising and media are looking at anew medium to position their product to the target audience. That led to productplacement in movies which was experimented where the products were prominentlydisplayed by the actors in the movie. At home setting the attention span of theaudience is low, it’s the same while watching television where viewers skip theadvertisement. With digitization this has become all the more easier as TV shows canbe recorded on the DTH and ads can forwarded. This is where the role of productplacement plays an important role in movies where the message can be easily slipped inthe narration of the movie. The audience is extremely receptive at a movie theatre; italso becomes more effective when the movie star is endorsing the brand itself e.g.

Shahrukh Khan using a Santro car in the movie Chalte Chalte or Aamir Khan wearing VanHeusen clothes in the movie Gajini.

Social Media

Social media has brought a revolution in the world of advertising. Even a low budgetmovie like Gangs of Wasseypur which was made on a shoestring budget of Rs. 9.2 croreexploited this medium immensely to use it for its advantage. When the first part didwell a pseudo election campaign was run between the two main protagonists of themovie. A twitter handle for both the characters was made separately where theyaggressively campaigned for their party. A video promo aptly named ‘Shit WasseypurisSay’ containing all the cuss words from the movie was trending on YouTube and sharedmultiple times on Facebook. But the movie which changed the dynamics of film marketingin India, the movie which used technology to the fullest for its promotion is ShahrukhKhan’s magnum opus Ra-one. Ra-one made with a budget of 125 crores spent additional 52crores on its marketing. The marketing of the movie began 9 months prior to release inDecember 2010 with the release of its theatrical poster followed by two teasertrailers released during ICC World Cup 2012, now this was a very smart move taken bySRK. He knew that the TG(Target group) for his movie was the youth and children andwhat could be a better way to reach them if not the cricket world cup. From themarketing budget of 52 crores 15 crores were spent on online marketing which was neverever done by any film producer previously. An official channel for the movie wasreleased on YouTube and simultaneously a twitter handle and a Facebook page wascreated for the movie to reach out to the youth. SRK became the first personality inthe history of Indian Cinema who tied up with the web giant Google and held live chatson Google Plus to interact with the fans. 2012 release Barfi went digital by usinginteractive Youtube videos in which users could change the mood of the main character‘Barfi’ (Ranbir Kapoor) or take tips from him in wooing girls.  The application  wascreated to increase user engagement and create awareness of the movie.

Multiplexes

Over the last decade phenomenal improvements were made in the theater infrastructurein India. Multiplex culture which started in India in 2002 has improved box -officecollection by 3 times. The large number of screens in multiplexes has provided anexcellent opportunity for small movie makers to reach  to their target audience. Anexample of one such small budget film is Aamir Khan Production’s Peepli Live which wasmade with a budget of 10 crores but grossed nearly 30 crores at the box office.

Pre-Release Revenue Earning Model

Today’s FilmMaker’s have become very smart and they have developed new revenue earningmodels.Most of the films today recover their cost before release only by sellingvarious Rights of the movie which include

a)Theatrical Rights

b)Satellite Rights or Broadcasting Rights

c)Music Rights

The movie Ra-One was also a pioneer in making full use of this strategy and earned 132crores before its release which is the highest pre-release revenue earned by any Hindifilm leaving way behind its close competitor 3 idiots which managed a pre-releaserevenue figure of 85 crores.The worldwide distribution rights of Ra-One was acquiredby Eros Entertainment for 77 crores.The broadcasting rights of the movie were sold toStar India for 35 crores and the Music Rights of the movie were bought by T-Series for10 crores.SRK has truly taught us how to market a movie and he is the only filmpersonality in India  who can give a tough fight to any marketing professor in theworld

Due to globalization Indian films now have a global appeal with release happening allaround the world. Hence marketers today have a larger audience base to touch upon. Totop it all corporates are now heavily investing in film industry.  Indian cinemaremains a common thread which binds all the fans together throughout the world.Therefore film marketing and promotion is becoming very important and lot of money isspent on it in the present and further a lot more money will be spent on it in thefuture. Movie-makers today are aggressively marketing their movies because they knowthe golden rule of marketing is-Jo Dikhta hai woh Bikta hai.

HARI OM ENTERTAINMENT

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Hari Om Entertainment

Parent Company Hari Om Entertainment

Category Film production house

Sector Media and broadcasting

Tagline/ Slogan -

USP Comedy movies

STP

Segment Media and broadcasting for movie enthusiasts

Target Group Middle and upper middle class individuals

PositioningA film production house which makes good comedy films with all commercial elements

SWOT Analysis

Strength

1. Association with top movie stars from Indian cinema makeit a good brand

2. Backed by huge infra and support, and stable financial position

3. Expertise in terms of production and distribution

4. The all elements of the film industry are present which helps in great synergy

Weakness

1. Late entry in to the industry.

2. Brand awareness is limited compared to big players

Opportunity

1. Increase the diversity in scripts.

2. Increase the amount of money invested in marketing the film

Threats

1.Very high competition in terms of multiplexes

2. Synergy between other players in the industry

Competition

Competitors

1. Dharma productions

2. Eros International

3. Yash Raj Films YRF

THE BOLLYWOOD MARKETING BRANDWAGON

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The Birth of Indian film industry or Bollywood as it is popularly known can be tracedto 1913 with Dadasaheb Phalke’s first silent feature film. Since then till date theindustry has gone through a rollercoaster ride. The costumes have changed, the storieshave more or less changed, the actors have changed, but the most important change thatthe industry has witnessed is the emergence of marketing and branding.

It is not as new as we think it to be, it can be traced to the era of Kishore Kumarwhere in a scene he is seen holding a bottle of Coca cola for his actress.  Though ininfancy stage brands started getting noticed and the audience started consuming them,giving the makers and marketers a new area of business. This trend was followed bysimilar brand placements in many movies where the lead was shown using the product,like in the classic comedy Chachi 420 Kamal Hasan derives his name “Laxmi “from thebrand Lux .

This was followed by a phase which has reached its peak today, the phase ofintelligent brand placements, which movies like Rang De Basanti portrayed by imbibingthe brands like Coca Cola with the theme of the movie rather than just making the leaduse the brand.

Now let’s have a look at the best and the worst of it. The worst brand placements canbe credited to Subhas Ghai’s “Yaadein”. The only reason being, that the movie wasfilled with brands and not placed with it. Every scene had a brand staring at you andstill made no sense; even a scene where someone’s dying had a brand placed in it. Fromsongs to drama everything was wrapped in the brand wrapper and it fell on its face. Onthe other hand Karan Johar’s Kuch Kuch Hota hai had around 100 brands placements inthe movie but all well placed and intelligently weaved in the story.

It should be noted that brand placements have now become an integral part of bollywoodmovies , to an extent that more than half of the movie's budget is recovered from suchplacements.Also with actors associating themselves with certain brands as brandambassadors, it becomes easier for the producers to get a brand on board. Be itPriyanka chopra and Sunsilk in the movie Fashion to Reebok shoes of Shahrukh khan inMy Name is khan, brands have made their presence felt.

Another aspect which needs special mention is the whole marketing strategy that isplanned for a movie. This is a recent phenomenon, the birth of which can be creditedto Mr.Amir Khan. Movie marketing in bollywood since has taken a huge jump with allmajor releases chalking out a whole marketing plan which includes activations,integrations, and events to promote the movie before 'The Friday '. The whole plan isbased on the communication that a movie wants to make with its target audience .Andwith more multiplexes opening up, and even more number of releases in a week, thecompetition is getting stiffer and nerve wrecking. Though it seems easy, marketing amovie can be a nightmare since it can go overboard and the best example of this wasShahrukh Khan's RA.ONE which had an enormous marketing budget and which is consideredto be the best marketed movie by some.Yet the box office results of the same paint adifferent story. Shahrukh Khan went everywhere and did everything he could to promotethe movie and create a buzz, which resulted in taking the audience's expectations to aheight which apparently did not match the product. The movie failed to deliver whatthe marketing communicated. From merchandising to online games to appearances in allreality shows possible, the movie made its presence felt every one but still it didn’tbecause the marketing and the movie communicated different things.

Its not only big budgets carrying out marketing gimmicks to get noticed , even smallerfilms are increasingly jumping on to the bandwagon to get a share of attention andprofits. The best example being recent Kahaani , which being a low budget movie stoodout due to a unique and cost effective strategy. Missing posters all over the city andthe main lead Vidya Balan visiting all shows to search her missing husband not onlymade the audience sit back and notice, but also generated a curiosity about ArnabBagchi which was in lines with the script of the movie.

To conclude, I would like to add that in the age of technology and volatile andimpulsive decisions, marketing plays an important role.  In film brand placements andmarketing have become an integral part of bollywood.

This article has been authored by Manali Balsara from Prin.L.N Welingkar Institute OfManagement.

INNOVATIVE MARKETING: MOVIES, MAGIC AND MARVEL

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Marketing is the backbone for any business. Marketing is primarily done through advertising on TV, newspapers, internet, magazines, hoardings, radio etc. But are these the most efficient mediums? Are these the most successful strategies? Even though these are the most unwavering, established and well-used forms of marketing, which have a huge reach, there is one strategy which gives supreme results. And that is innovative marketing.

Innovative Marketing

Innovative marketing is applying unparalleled creativity and newer strategies by usingexisting or newer mediums to spread the buzz. A few examples of innovative marketing strategies, which have lead to amazingly favorable results for a business are discussed below.

Innovative marketing can be discussed through some marketing strategies adopted in theIndian Film Industry i.e. Bollywood. In 2008, movies of superstar iconic actors Shahrukh Khan (Rab ne bana di jodi) and Aamir Khan (Ghajini) were being released on the same day, but an innovative move by Amir Khan completely overshadowed the other movie. At every ticket window in every theatre, when audiences went to buy tickets forany movie, they saw people sitting with 'Ghajini hairstyles' selling tickets. This really influenced the visiting audiences, and lead to a spontaneous buying of Ghajini tickets, and thus its business scored way over other movies. A similar innovation was used during the release of the movie ‘3 Idiots’, as movie props like benches were put across theatres. All these innovative marketing moves yielded special results for the movie business and proved to be successful marketing campaigns.

Innovative marketing through movies and cinema always leads to more buzz and reach, amongst the masses, as compared to advertisements on TV. One of the biggest examples is that of FMCG ointment Zandu Balm which was featured very prominently in a popular movie 'Dabangg'. Zandu balm, which once had a command, had lost its presence in the FMCG market. But when it was featured in a super hit song 'Munni badnaam', its sales soared by 30% within a matter of weeks. Many brands and companies sponsor certain scenes in movies, where their brand ambassador-actors promote the product. Thus, innovation and creativity work wonders as compared to conventional methods of advertising and marketing, as it has a more powerful appeal to the masses.

Other innovative marketing campaigns were when Volkswagen, an unknown brand in India, entered with a bang, and this was possible with their innovative marketing strategy. Volkswagen started its campaign by bombarding the newspapers with 'audio' advertisements in newspapers which not only helped them create a market share, but also created excitement & anticipation in the automobile industry. Similarly, creativelaser show advertising, events and concerts at locations like Eiffel tower, Taj Mahal,Great Wall, Sydney Opera House etc. not only enhances the image of brands and organizations but makes them a part of their historical legacy.

Marketing has come a long way due to its ever-changing and dynamic nature. The use of various mediums, information technology and internet have changed the way the marketing game is played. But in a common playground which has a never-ending intense rivalry, there is one thing that stands out for igniting that extra spark- Innovative Marketing.

PRODUCT PLACEMENT IN MOVIES

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Chipka le saiyyan Faavicol se… Couldn't help but hum this cheesy number as I walked out of anot-so-plush single-screen theatre in Dadar, Mumbai. Guessing the name of the movieisn’t rocket science, no? During the movie, one exasperated bloke screamed out loud– “Oye Chulbul, picture me kitna ad hai be!”, while the MBA in my head shouted “Product placement,product placement, product placement!”

So, what exactly is product placement? It’s nothing but a means used by companies to promote their products through a non-traditional advertising technique, usually through appearances in movies, television soaps, or other media.

Though it is widely believed that the practice of using movies to promote brands is arecent phenomenon, this trend can be traced way back to the 1955 Raj Kapoor movie –Shree 420, in which when the protagonist enters Bombay for the first time, a largeCoca-Cola banner is visible right above his head.

There are other instances as well. In Chalti Ka Naam Gaadi (1958), the story revolvesaround three brothers who own an auto repair shop. Several scenes in the film featurea poster depicting Mobil brake-fluid along with at least one mention of it by one ofthe primary characters. In An Evening in Paris (1967), the hero and heroine of themovie carry a Coke bottle everywhere they go, and an entire crate of Coke is clearlyvisible in one of the scenes. Oh! And how can one not mention the legendaryassociation between the super-hit Bobby (1975) and Rajdoot Motorcycles. The motorcyclebrand also became famous as the ‘Bobby’ motorcycle for quite a while, thus riding onthe goodwill garnered by the movie and its lead characters.

However, there is little data about the financial aspects of these product placements.Also, there is no clarity about whether these were intentional or not and theirrespective repercussions.

The practice of placing products in Bollywood films really took off in the 1990s. YashChopra’s Dil To Pagal Hai (1997) featured several brands such as Pepsi, Levis, andKiller Jeans. However, it was Subhash Ghai’s Taal (1999) that became very famous (orrather infamous) for being a tad too blatant with product placements. This AishwaryaRai-Akshaye Khanna starrer had an entire 10-second song segment around a Coke bottle.The lack of subtlety raised many an eyebrow.

Ghai carried forward this trend of not-so-subtle product placements in his next movie,Yaadein (2001), though this time round he took it to an altogether different level. Inthe movie, Coke had the mouth-freshener brand, Pass Pass, for company. Not only did hego for repeated Coke banners in the background, he also had Jackie Shroff flaunt a keychain with the Coke logo. This key chain was twiddled in front of the camera in everyother frame Jacky was in. To add to our woes, everyone kept offering one another PassPass throughout the film. So much for subtlety! Sigh.

Some other movies that come to mind when one thinks of extremely blatant productplacements are Rakesh Roshan’s Koi Mil Gaya (2003), Yash Chopra’s Ta Ra Rum Pum (2007)and Farhan Akhtar’s Zindagi Naa Milegi Dobara (2011). Koi Mil Gaya had Rekha trying topush Bournvita down a callow Hrithik’s throat while it also promoted Coke and HeroHonda. Ta Ra Rum Pum, which revolved around the life of a car-racer (Saif Ali Khan)pimped auto brands from Castrol to Goodyear to Chevrolet, while ZNMD made its share ofmoolah by selling Mountain Dew, Land Rover Discovery 4 and Spanish Tourism. We canalso add Krrish (2006), Don (2006) and many more to this list.

This method of marketing one’s product is viable because it is a highly effective wayof advertising. In a fast paced consumerist society, advertisements are being filteredout. Consumers watching TV or listening to radio can skip these ads played duringintervals, but that is not the case with product placements. Product placements alsomake it a lot easier to reach the target market segment and to etch brands in theirminds. Moreover, the one-time payment in case of product placement in movies is only atrivial fraction compared to the cost of repeatedly showing ads of a product onvarious television channels.

Also, the Indian psyche of adulating and looking up to film-stars work in its favour.The Indian audience is emotionally involved with onscreen characters, and has alwayslooked to actors and actresses for new trends, fashions, and hairstyles. Thus, brandsplaced in the hands of characters admired by the audience can be very effective. Allthis makes product placement a potent and cost-effective tool of promotion.

Having said that, care has to be taken that the product is portrayed appropriately. Anunflattering demonstration of a product can wreak havoc with its brand equity. Thisalso means that it is essential for brand managers to work closely with movieproducers to ensure that the right message is being sent out to the target audience.

Looking at the current trends, it would be safe to say that product placement as ameans of promotion is certainly here to stay. Also, Dabangg 2 has added another twistto the tale, what with Chulbul Pandey not only using a certain mobile phone brand and

a riding a certain motorbike but also dancing with a raunchy Kareena Kapoor to tellyou that you’ve got to stick it Faavicol se!

This article has been authored by Rohit Haldankar from Welingkar.

YASH RAJ FILMS YRF

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Yash Raj Films YRF

Parent Company Yash Raj Films Ltd

Category Films and entertainment

Sector Media and broadcasting

Tagline/ Slogan Films for ever

USPYRF Studios is India's leading Entertainment Conglomerate –veritably a "Studio" in every sense.

STP

Segment Segmenting based on different movie tastes

Target Group Mostly people loving Family,drama,romantic entertainers

Positioning Love and Family and drama

SWOT Analysis

Strength 1. It is India's biggest production company

2. Yash Raj Films has launched its own merchandise label called YRF Merchandise which offers a range of products embellished with pictures and posters from Yash Raj Films helping in branding.

3. Presence of popular movie stars like Amitabh Bachchan, Shahrukh Khan etc makes it a high brand value production house

4. The movie DDLJ which is second most movie played in theatre helps in brand recall.

5. International association recognition being a phenomenalproduction house

6. Impact movies which score highly at movie award functions also

Weakness

1. Limited innovation in terms of genre of movies

2. No great presence in regional movies

3. Limited number of directors associated with production house

Opportunity

1. Changing tastes of movies can be used to tap the regional market.

2. Making off beat film for critical and business success.

3. Entry into animated and action movies to generate more customers

Threats

1. Inter studio rivalry.

2. The ties between the different aspects of film industries are very futile and delicate.

3. Brand recognition is associated more with directors morethan film house.

Competition

Competitors

1. UTV Spotboy productions

2. Red Chillies entertainment

3. Dharma Productions

RED CHILLIES ENTERTAINMENT

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Red Chillies Entertainment

Parent Company Red Chillies Entertainment

Category Broadcasting & Cables

Sector Media and Entertainment

Tagline/ SloganFor Kolkata Knight Riders: To Fight With Passion. To Fight For Glory

USP

Global entertainment industry with stunning visual effects,state of the art production technique andHaving superstar Shahrukh Khan as the backbone

STP

Segment TV watchers, Cinematic viewers

Target Group Medium and High end of the pyramid

Positioning Indian motion picture, production and distribution company

SWOT Analysis

Strength 1.Set up special effects studio, VFX, which brought Hollywood's slick sophistication to Indian cinema

2. Acquired ownership rights for the franchise representing

Kolkata in the a Twenty20 cricket tournament Indian PremierLeague

3. Produced over 250 commercials with national and international brands like Sprite, Pepsi, Tag Heuer etc.

4. Higher returns from 3D ticket sales

5. Diversification of business to Post production, TV commercials, Television, IPL and equipment

Weakness

1. Piracy may cause loss in revenue2. Penetration is not much in rural market3.Loosing focus on its core competency by venturing into multiple verticals

Opportunity

1.Increase brand reputation by producing commercials with both national and international brands

2. Ambitious plans to venture into other sports like Football and Hockey

3. Clutch the biggies to expand its awards arsenals and gain recognition in film industry

4. Partner with global entertainment conglomerates

5. Collaborate with celebrity as brand ambassador, Music TVshows, different TV channels etc. to expand its reach

Threats

1.Special effects studios are confined to only few theatres2.Burgeoning competition from production house with similarexpertise3.Technological changes by Hollywood can swallow Bollywood

4. Franchises under ownership rights may run in losses causing the revenue to get affected

Competition

Competitors

1.Dharma Productions

2. Tips Industries Limited

3. Aamir Khan Productions

4. Hari Om Entertainment

DHARMA PRODUCTIONS

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Dharma Productions

Parent Company Dharma Productions

Category Film production

Sector Media and broadcasting

Tagline/ Slogan

Lots of stories to be told...Lots of hidden talent to be discovered...and lots of moviesto be made.

USPIndian film production company with lots of great movies

STP

Segment Cinematic viewers

Target Group Medium and High end of the pyramid

Positioning Something for everyone.

SWOT Analysis

Strength 1. Strong  backing of experienced film makers2. Wide variety of films leading to wider

audience3. High recognition all across the world.4. Many awards to the movies made which increases the brand position and equity.5. In house directors and top celebrities like Shahrukh Khan, Hritik Roshan etc

Weakness

1. Piracy may cause loss in revenue2. Penetration is not much in rural marketand controversies with other production houses

Opportunity

1. Increase brand reputation by producing commercials with both national and international brands2. More offbeat films to cater to different segments

Threats

1. Heavy competition from the competitors2. Legal and govt regulations3. Alternate sources of entertainment which causes credible threat to film industry suchas cricket and politics

Competition

Competitors

1. Yash Raj Films2. Tips Industries Limited3. Aamir Khan Productions4. Hari Om Entertainment

EXCEL ENTERTAINMENT

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Excel Entertainment

Parent Company Excel Entertainment

Category Broadcasting & Cables

Sector Media & Entertainment

Tagline/ Slogan -

USPInvolved in distribution and production for many international film houses.

STP

Segment Audience watching Cinemas

Target Group Contemporary cinemas

Positioning Pushing the boundaries of reel entertainment in all genres.

SWOT Analysis

Strength

1.  Have top of the line technicians in international film making2.  Have several entries to international films festivals3.  Worked with the biggest names in Bollywood4.  Have a strong talent management and creative team

5. Association with popular filmstars in good movies enhances brand reputation

Weakness

1. Low presence in regional cinemas2.Limited number of directors associated with production house3. Rising Infrastructure and talent costs hitting the bottom line.

Opportunity

1. Changing tastes of movies can be used to tap the regional market

2.Making off beat film for critical and business success.

3. Entry into animated and 3D movies to generate more customers

Threats

1. New International studies setting up their base in India2. Excel entertainment does not enjoy any brand equity3. Too much dependence on few lead actors.

Competition

Competitors

1.YashRaj Films2.UTV Spotboy3. Red chillies

BALAJI TELEFILMS

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Balaji Telefilms

Parent Company Balaji Telefilms

Category Broadcasting and Cables

Sector Media and Entertainment

Tagline/ Slogan -

USPDiverse Content primarily focused on females and youth exclusively

STP

Segment Individuals seeking entertainment

Target GroupSEC-A group, Families – Middle and Upper Middle Class - Urban, Values  based

PositioningEntertainment with focus on ethnic values and youth – PrimeTime

SWOT Analysis

Strength

1. Strong Creative Teams2.  In-house captive studios and common lead actors – Low production cost3. Majority of the TRP for Top 100 slots4. Exploring different areas right from broadcasting, production to acquisition

5. Strong brand presence owing to popular movies and serials being produced

Weakness

1. Lack of scalability and fickle demands of viewers2. Slow adaptability to regional demands

3. High competition means difficult to carve out a niche

Opportunity

1.  Entrance of new broadcasting companies with opening of FDI2.  Increasing Customer Awareness to diverse content3.  Regional Content production

Threats 1. Emergence of regional channels at a rapid growth

2. Movement of interest from Mass Entertainment to niche genre3.  Growth of foreign channels

Competition

Competitors

1. Creative Eye Productions2. Maverick Productions3.  White Leaf Productions

EROS INTERNATIONAL

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EROS International

Parent Company EROS International

Category Film production and Distribution and television syndication

Sector Media and broadcasting

Tagline/ Slogan -

USP High quality and high budgeted movies

STP

Segment Segmenting based on geographic locations

Target Group Across all segments in India and south Asian countries

Positioning High and rich film base and very high budgeted movies

SWOT Analysis

Strength

1. Extensive content library of over 1900 films, plus another 700 films for which they digital rights only built up over three decades2. Apart from the above films, the Group also has a slate of regional films in Marathi & Punjabi as well as Tamil films through its subsidiary Ayngaran and some smaller scale Hindi releases.

3. Distribution network allows tailoring of marketing arrangements for each local market.

4. Increased margins through self-distribution

5 internationally across all formats.

6. The group distribution network of over 50 countries

7. Strong online presence.

8. Business in home and digital media and In house VFX studio.

9.A selection of our Theatrical Partners such as PVR which help in cross branding.

Weakness

1.Conflict of interest between the big stars due to involvement of many stars

2. Non availability of exhibition centers

Opportunity

1.Cross branding initiatives for increasing revenues.

2. Due to availability of huge infra for post-production they can use it for projects outside the production house.

3. Merger or acquisition of exhibition to add the final component of film production house.

Threats 1.Competition for foreign players in both domestic and foreign markets.

2. Change in tastes of film viewing in the domestic markets.

3. Film piracy

Competition

Competitors

1. Red Chillies entertainment

2.  Universal entertainment

3. UTV Motion

ADLABS INDIA

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Adlabs India

Parent Company Reliance Entertainment

Category Broadcasting & cables

Sector Media & Entertainment

Tagline/ Slogan -

USP Cost effective entertainment option to the popular masses

STP

Segment Media and entertainment seeking individuals

Target Group Urban & Semi urban middle & upper class

Positioning As an entertainment movie show franchise which caters to

the inexpensive demand of the popular masses

SWOT Analysis

Strength

1. Growing urban consumer base in India2. Reliance a strong brand name3. Established consumer base in India

4. Large variety of services offers to customers

5. Tieups with leading production houses adds brand value

Weakness

1. High seasonal fluctuations2. Losses at times due to commitment to movie distributors is a concern

Opportunity1. Tap the semi urban & rural market at a lower cost2. Provide other value added services

Threats

1. Piracy in the movie market2. Competitors in the industry lowering their prices leading to a price war

Competition

Competitors

1. BIG cinemas

2. UTV Motion Pictures

RELIANCE CINEMAS

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Reliance Cinemas

Parent Company Reliance ADAG

Category Broadcasting & Cables

Sector Media & Entertainment

Tagline/ Slogan -

USPSignificant presence in filmed entertainment (film production, distribution, and exhibition).

STP

Segment Cinema Watching Audience

Target GroupHindi Cinema, 18-40+, Entertainment loving Commercial Cinema

Positioning Entertainment and Reaching out to the masses.

SWOT Analysis

Strength

1. BIG 92.7 FM was India’s largest private FM radio networkwith 12 radio stations across the country2. Big Cinemas is India’s largest cinema chain with over 516 screens 3. Leadership in film exhibition in India with 250+ screensand accounts for 10 to 15% of box office contributions of large movies4. In Hollywood, Reliance Entertainment has partnered with Steven Spielberg and Stacey Snider on the formation of DreamWorks Studios

5. Strong backing of parent company

Weakness

1. Very limited presence in regional cinemas.2. Intensely competitive environment means growth is often stagnant

Opportunity

1. Easy access to technology in US and access to Hollywood movies.2. Growing urbanization, BIG Cinemas could garner high market share.3. Entering into TV Serials category like other competitors

Threats

1. Formidable competition with backward integration of several production houses2. Mis-management at the top level posed a risk to distributors

3. Entry of international brands in the industry

Competition

Competitors 1. Shree Ashtavinayak2. Red Chillies3. TIPS Industries

SHREE ASHTAVINAYAK CINE VISION

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Shogakukan..

Shueisha..

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Shree Ashtavinayak Cine Vision Ltd

Parent Company Shree Ashtavinayak Cine Vision Ltd

Category Broadcasting & Cables

Sector Media and Entertainment

Tagline/ Slogan Making the right movies.

USP

Professionalize and systemize the Film Production process optimizing the use of resources and maximizing return on investment

STP

SegmentTV Viewers, Business houses, Distributors, Bollywood producers, directors etc., Moviegoers, Music listeners

Target GroupUpper and Middle section of the society in tier-1 and tier-2 cities

PositioningIntegrated business of production, distribution and exhibition of motion pictures

SWOT Analysis

Strength

1. Presence in all segments of film industry

2. Solid track record of successful film production and distribution

3. Listed on both BSE and NSE

4. Company’s strength lies in its professional approach to film making, cost-effective production and superior film promotion strategy

5. It takes a conservative, risk-controlled approach to film production

6. Active risk mitigation

7. Focus on planning, budgeting and commercially viable films

8. Capitalizing strength in distribution segment by having innovative distribution strategies and excellent logistics network

9. Focus on commercially viable films

10. Superior film promotion and marketing strategy

Weakness

1. Too much dependence on box office collection

2. Piracy and home viewing is a concern

3. Copyright enforcement is not very stringent

Opportunity

1. Digitization of theatres

2. Growth of multiplexes and growth of ancillary revenue streams from films

3. The demand for good quality films will continue to grow with higher disposable incomes and improved living standards

4. India has the highest number of theatrical admissions per year

5. Regulatory reforms like 100% foreign direct investment

6. The emergence of new streams of ancillary revenues has de-risked the film production business, making film contentdevelopment an attractive value proposition

Threats

1. General economic and business risks which may throw production schedules out of gear

2. Changes in the foreign exchange control regulations, interest rates and tax laws in India

3. Very competitive entertainment industry

4. Regulatory changes relating to the film industry

5. Image of lead artists may also have a bearing on the performance

6. Increasing competition in the industry

7. International business weakening further due to piracy and parallel import

Competition

Competitors

1. Pritish Nandy Communications

2. Eros International

3. UTV Software

4. Adlabs Films

Romantic comedy filmFrom Wikipedia, the free encyclopedia

"Romantic comedy" redirects here. For other uses, see Romantic Comedy.

The examples and perspective in this article deal primarily with the United States and do not represent a worldwide viewof the subject. Please improve this article and discuss the issue on the talk page. (August 2009)

Marilyn Monroe and Tom Ewell inThe Seven Year Itch trailer.

Romantic comedy films are films with light-hearted, humorous plotlines, centered on romantic ideals such as that true love is able to surmount most obstacles.[1] One dictionary definition is "a funny movie, play, or television program about a love story that ends happily".[2]Another definition states that its "primary distinguishing feature is a love plot in which two sympathetic and well-matched lovers are united or reconciled".[3]

Romantic comedy films are a sub-genre of comedy films as well as of romance films,and may also have elements of screwball comedies[4]and stoner comedies. Some television series can also be classified as romantic comedies.

“ In a typical romantic comedy the two lovers tend to be young, likeable, and apparently meant for each other, yet they are kept apart by some complicating circumstance (e.g., class differences, parental interference; a previous girlfriend or boyfriend) until, surmounting all obstacles, they are finally wed. A wedding-bells, fairy-tale-style happy ending is practically mandatory.[3] ”

Pretty Woman is considered by many critics to be the most successful movie in the genre.[5]

Contents

  [hide] 

1   Description

2   Contrived romantic encounters: the "meet cute"

o 2.1   Use of "meet cute" situations

3   History

4   Television

5   Film

o 5.1   Early

o 5.2   Contemporary

o 5.3   Top grossing

6   See also

7   References

8   External links

Description[edit source | editbeta]This section is written like a personal reflection or opinion essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (February 2011)

Kathryn Grayson in Seven Sweethearts (1942), a musical romantic comedy film

The basic plot of a romantic comedy is that two characters, usually a man and a woman, meet, part ways due to an argument or other obstacle, then ultimately reunite. Sometimes the two leads meet and become involved initially, then must confront challenges to their union. Sometimes they are hesitant to become romantically involved because they believe that they do not like each other, because one of them already has a partner, or because of social pressures. However, the screenwriters leave clues that suggest that the characters are, in fact, attracted to each other and that they would be a good love match. The protagonists often separate or seek time apart to sort out their feelings or deal with the external obstacles to their being together.

While the two protagonists are separated, one or both of them usually realizes that they are ideal for each other, or that they are in love with each other. Then, after one of the two makes some spectacular effort (sometimes called the grand gesture) to find the other person and declare their love, or through an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the filmends happily. The couple does not, however, have to marry, or live together "happily ever after". The ending of a romantic comedy is meant to affirm the primary importance of the love relationship in its protagonists' lives, even if they physically separate in the end (e.g. Shakespeare in Love, Roman Holiday).[6]

There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best

Friend's Wedding and My Super Ex-Girlfriend). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format

of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothingand A Midsummer Night's Dream.

Some comedy films, such as Knocked Up, combine themes of romantic comedies and stoner comedies, creating a subgenre that appeals to both men and women. Often known as "bromance", such films usually use sexual elements which bring the two characters together. Films in this genre include American Pie 2 and even Wedding

Crashers.

Contrived romantic encounters: the "meet cute"[edit source | editbeta]

One of the conventions of romantic comedy films is the funny parts and contrived encounter of two potential romantic partners in unusual or comic circumstances, which film critics such as Roger Ebert[7] or the Associated Press' Christy Lemire[8] have called a "meet-cute" situation. During a "meet-cute", scriptwriters often create a humorous sense of awkwardness between the two potential partners bydepicting an initial clash of personalities or beliefs, an embarrassing situation,or by introducing a comical misunderstanding or mistaken identity situation. Sometimes the term is used without a hyphen (a "meet cute"), or as a verb ("to meet cute").

Roger Ebert describes the "concept of a Meet Cute" as "when boy meets girl in a cute way." As an example, he cites "The Meet Cute in Lost and Found [which] has Jackson andSegal running their cars into each other in Switzerland. Once recovered, they Meet Cute again when they run into each other while on skis. Eventually,... they fall in love."[9]

In many romantic comedies, the potential couple comprises polar opposites, two people of different temperaments, situations, social statuses, or all three (It

Happened One Night), who would not meet or talk under normal circumstances, and the meet cute's contrived situation provides the opportunity for these two people to meet.

Use of "meet cute" situations[edit source | editbeta]

Mary Astor and Joel McCrea in The Palm Beach Story, a screwball romantic comedy

Certain movies are entirely driven by the meet-cute situation, and contrived circumstances throw the couple together for much of the screenplay. However, movies in which the contrived situation is the main feature, such as Some Like It Hot,rather than the romance being the main feature, are not considered "meet-cutes".

The use of the meet-cute is less marked in television series and novels, because these formats have more time to establish and develop romantic relationships. In situation comedies, relationships are static and meet-cute is not necessary, though flashbacks may recall one (The Dick Van Dyke Show, Mad About You) and lighter fare may require contrived romantic meetings.

The heyday of "meet cute" in films was during the Great Depression in the 1930s; screwball comedy films made a heavy use of contrived romantic "meet cutes",perhaps because the more rigid class consciousness and class divisions of this period made cross-social class romances into tantalizing fantasies.

While film critic Roger Ebert has popularized the term "meet cute" in his reviews of romantic comedies, the term is mostly used in the film and screenwriting industries, where it provides a convenient shorthand for screenwriters who are doing a very compressed pitch to a film production company.

History[edit source | editbeta]This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may

be challenged and removed. (June 2007)

The Oxford Dictionary of Literary Terms defines romantic comedy as "a general term for comedies that deal mainly with the follies and misunderstandings of young lovers, in a light‐hearted and happily concluded manner which usually avoids serious satire". This reference states that the "best‐known examples are Shakespeare's comedies of the late 1590s, A Midsummer Night's Dream, Twelfth Night, and As You Like

It being the most purely romantic, while Much Ado About Nothing approaches the comedy of manners and The Merchant of Venice is closer to tragicomedy.[10]

Comedies since ancient Greece have often incorporated sexual or social elements.

It was not until the creation of romantic love in the western European medieval period, though, that "romance" came to refer to "romantic love" situations, rather than the heroic adventures of medieval Romance. These adventures, however, often revolved about a knight's feats on behalf of a lady, and so the modern themes of love were quickly woven into them, as in Chrétien de Troyes's Lancelot, the Knight of the Cart.[11]

Shakespearean comedy and Restoration comedy remain influential. The creation of huge economic social strata in the Gilded Age[citation needed], combined with the heightened openness about sex after the Victorian era[citation needed] and the celebration of Sigmund Freud's theories, and the birth of the film industry in the early twentieth century, gave birth to the screwball comedy.[citation needed] As class consciousness declined and World War II unified various social orders, the savage screwball comedies of the twenties and thirties, proceeding through Rock Hudson–Doris Day-style comedies, gave way to more innocuous comedies.[citation needed] This style faded in the 1960s, and the genre lay mostly dormant until the more sexually charged When Harry Met Sally had a successful box office run in 1989, paving the way for a rebirth for the Hollywood romantic comedy in the mid-1990s.

The French film industry went in a completely different direction,[citation needed] with less inhibitions about sex.[citation needed] Virginia Woolf, tired of stories that ended in'happily ever after' at the beginning of a serious relationship, called Middlemarch by George Eliot, with its portrayal of a difficult marriage, "one of the few English novels written for grown-up people."

Television[edit source | editbeta]

Romantic comedy series have included:

Living Single (1993–1998) (FOX) As Time Goes by (1992-2005) (BBC)

The Nanny (1993–1999) (CBS) Friends (1994–2004) (NBC) Ally McBeal (1997–2002) (FOX) For Your Love (1998–2002) (WB) Will & Grace (1998–2006) (NBC) Girlfriends (2000–2008) (UPN/CW) Half & Half (2002–2006) (UPN) All of Us (2003–2007) (UPN) Desperate Housewives (2004–2012) (ABC) How I Met Your Mother (2005–) (CBS) Emily's Reasons Why Not (2006) (ABC) Pepper Dennis (2006) (The WB) Hot Properties (2006) (ABC) Men In Trees (2006–2008) (ABC) Not Going Out (2006–) (BBC) Ugly Betty (2006–2010) (ABC and Channel 4(in the UK)) The Big Bang Theory (2007–) (CBS) Gavin & Stacey (2007–2009) (BBC) Samantha Who? (2007–2009) (ABC) The Starter Wife (miniseries, 2007; series 2008–2009) (USA Network) Greek (2007-2011) (ABC Family) Cashmere Mafia (2008) (ABC) Lost In Austen (2008) (ITV) The Ex List (2008) (CBS) Lipstick Jungle (2008–2009) (NBC) Accidentally on Purpose (2009–2010) (CBS) Drop Dead Diva (2009–) (Lifetime) Cougar Town (2009–) (ABC) Big Time Rush (2009-) (Nickelodeon) 100 Questions (2010) (NBC)

Romantically Challenged (2010) (ABC) Running Wilde (2010-2011) (F0X) Mike & Molly (2010–) (CBS) Better With You (2010–2011) (ABC) Perfect Couples (2010–2011) (NBC) Love Bites (2011) (NBC) Friends With Benefits (2011) (NBC)

Film[edit source | editbeta]The neutrality of this article is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until the dispute is resolved. (January 2011)

This section lists examples of romantic comedy films[citation needed], ordered by year of release.

Early[edit source | editbeta]

Girl Shy (1924) City Lights (1931) Trouble in Paradise (1932) No Man of Her Own (1932) It Happened One Night (1934) Modern Times (1936)[12]

My Man Godfrey (1936) The Awful Truth (1937) Bringing Up Baby (1938) Holiday (1938) Ninotchka (1939) His Girl Friday (1940) The Philadelphia Story (1940) The Shop Around the Corner (1940) Ball of Fire (1941) The Lady Eve (1941) Woman of the Year (1942)

Adam's Rib (1949) Born Yesterday (1950) Pat and Mike (1952) Roman Holiday (1953) Gentlemen Prefer Blondes (1953) Sabrina (1954) The Seven Year Itch (1955) Love in the Afternoon (1957) Desk Set (1957) Houseboat (1958) Pillow Talk (1959) The Apartment (1960) Breakfast at Tiffany's (1961) That Touch of Mink (1962) Irma La Douce (1963) The Graduate (1967) Sweet November (1968)Contemporary[edit source | editbeta]

Harold and Maude (1971) Play It Again, Sam (1972)

Annie Hall (1977) Romancing the Stone (1984) Pretty in Pink (1986) Moonstruck (1987) The Princess Bride (1987) Overboard (1987) Baby Boom (1987) Working Girl (1988) When Harry Met Sally (1989) Pretty Woman (1990) Green Card (1990) Doc Hollywood (1991) The Cutting Edge (1992)

Boomerang (1992) Groundhog Day (1993)[13]

Sleepless in Seattle (1993) Four Weddings and a Funeral (1994) Only You (1994) French Kiss (1995) Mighty Aphrodite (1995) While You Were Sleeping (1995) Sabrina (1995) Beautiful Girls (1996) The Truth About Cats & Dogs (1996) One Fine Day (1996) As Good as It Gets (1997) Picture Perfect (1997) Fools Rush In (1997) My Best Friend's Wedding (1997) Out to Sea (1997) Overnight Delivery (1998) The Wedding Singer (1998) You've Got Mail (1998) Six Days Seven Nights (1998) There's Something About Mary (1998) 10 Things I Hate About You (1999) Three to Tango (1999) Au Pair (1999) The Bachelor (1999 film) (1999) Never Been Kissed (1999) Notting Hill (1999) She's All That (1999) American Pie (1999) Runaway Bride (1999) Coyote Ugly (2000) Miss Congeniality (2000)

What Women Want (2000) Get Over It (2001) Bridget Jones's Diary (2001) Head over Heels (2001) Kate & Leopold (2001) Legally Blonde (2001) Serendipity (2001) The Brothers (2001) The Wedding Planner (2001) American Pie 2 (2001) Two Can Play That Game (2001) Someone Like You (2001) Maid in Manhattan (2002) Sweet Home Alabama (2002) The Sweetest Thing (2002) Two Weeks Notice (2002) Serving Sara (2002) The Santa Clause 2 (2002) Deliver Us From Eva (2003) How to Lose a Guy in 10 Days (2003) Love Actually (2003) American Wedding (2003) Something's Gotta Give (2003) The Fighting Temptations (2003) What a Girl Wants (2003) Along Came Polly (2003) Under the Tuscan Sun (2003) Bridget Jones: The Edge of Reason (2004) 13 Going on 30 (2004) 50 First Dates (2004) A Cinderella Story (2004) Bride and Prejudice (2004) Chasing Liberty (2004)

Win a Date with Tad Hamilton! (2004) The Prince and Me (2004) Wimbledon (2004) Fever Pitch (2005) The 40-Year-Old Virgin (2005) Hitch (2005) Just Friends (2005) Just Like Heaven (2005) Little Manhattan (2005) Monster-in-Law (2005) Must Love Dogs (2005) The Wedding Date (2005) Wedding Crashers (2005) Imagine Me & You (2005) It's a Boy Girl Thing (2006) Just My Luck (2006) Failure to Launch (2006) My Super Ex-Girlfriend (2006) The Holiday (2006) Love and Other Disasters (2006) She's the Man (2006) The Heartbreak Kid (2007) I Think I Love My Wife (2007) Knocked Up (2007) Because I Said So (2007) Music and Lyrics (2007) Good Luck Chuck (2007) The Other End of the Line (2008) Nick and Norah's Infinite Playlist (2008) Sex and the City (2008) 27 Dresses (2008) Mamma Mia! (2008) Another Cinderella Story (2008)

Definitely, Maybe (2008) Fool's Gold (2008) Forgetting Sarah Marshall (2008) Made of Honor (2008) The Accidental Husband (2008) What Happens in Vegas (2008) Picture This (2008) How to Lose Friends & Alienate People (2008) Zack and Miri Make a Porno (2008) My Best Friend's Girl (2008) Over Her Dead Body (2008) Bride Wars (2009) He's Just Not That Into You (2009) Confessions of a Shopaholic (2009) Duplicity (2009) Ghosts of Girlfriends Past (2009) My Life in Ruins (2009) The Proposal (2009) The Ugly Truth (2009) Did You Hear About the Morgans? (2009) It's Complicated (2009) The Rebound (2009) I Hate Valentine's Day (2009) Play the Game (2009) Leap Year (2010) Valentine's Day (2010) When in Rome (2010) She's Out of My League (2010) The Bounty Hunter (2010) The Back-up Plan (2010) Letters to Juliet (2010) Killers (2010) Sex and the City 2 (2010)

Going the Distance (2010) The Switch (2010) You Again (2010) Life as We Know It (2010) Love and Other Drugs (2010) How Do You Know (2010) Just Wright (2010) No Strings Attached (2011) From Prada to Nada (2011) Just Go with It (2011) Larry Crowne (2011) Something Borrowed (2011) I Don't Know How She Does It (2011) Friends With Benefits (2011) Take Me Home Tonight (2011) Crazy, Stupid, Love. (2011) New Year's Eve (2011) What's Your Number? (2011) Any Questions for Ben? (2012) This Means War (2012) Think Like a Man (2012) Wanderlust (2012) The Five-Year Engagement (2012) Friends with Kids (2012) Exit Strategy (2012) The Callback Queen (2012) Silver Linings Playbook (2012) Warm Bodies (2013) I Give It a Year (2013) Admission (2013) Goddess (2013) The Big Wedding (2013)

Top grossing[edit source | editbeta]

Coming to America (1988) When Harry Met Sally... (1989) Pretty Woman (1990) Sleepless in Seattle (1993]) Four Weddings and a Funeral (1994) As Good as It Gets (1997)[14]

My Best Friend's Wedding (1997) There's Something About Mary (1998) You've Got Mail (1998) Runaway Bride (1999) Notting Hill (1999) What Women Want (2000) American Pie 2 (2001) My Big Fat Greek Wedding (2002) Sweet Home Alabama (2002) The Santa Clause 2 (2002) Love Actually (2003) American Wedding (2003) Hitch (2005) Knocked Up (2007) Sex and the City (2008) Mamma Mia! (2008) The Proposal (2009) It's Complicated (2009) Sex and the City 2 (2010) Just Go with It (2011) Crazy, Stupid, Love. (2011) Think Like a Man (2012) Silver Linings Playbook (2012)