Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
And
Mass Media
Prepared by
Dr.Dhwani Joshi
Edited by
Vaidehi Hariyani
(Research Scholar)
Department of English,MKBU
Communication: The Term
• A human relationship involving two or more persons
who come together to share, to dialogue and to
commune.
• Thus, communication is not just an act or a process
but also a social and cultural togetherness.
According to Denis Mcquail, “Communication is a process which
increases commonality – but also requires elements of commonality
for it to occur at all.”
A common language for instance does bring people together but
language alone does not suffice for communication to take place.
There are other factors too at play such as a shared culture and a
common interest which bring about a sense of commonality and
more significantly, a sense of community.
2. The Sender encodes the idea: When encoding one’s idea, one has to pick the code that
will fit the message and that will allow the receiver to understand. Humans use a
multitude of symbols to represent their ideas. Some symbols are linguistic (verbal or
written) code developed into complex languages. Languages are many: the Morse
code, the Braille language, the American Sign Language, and all the spoken and dead
languages of the world. Other symbols are also in use to communicate: mathematical
formulas, paintings, pictographs, hieroglyphs, traffic signals, zip codes, baseball
gestures signalling instructions from managers to players.
3. The sender transmits the message: In order for the sender to transmit the encoded
message, the sender has to choose a channel, a medium through which to send the
message. Senders can send information verbally or nonverbally. In nonverbal
communication, messages are sent through gestures, tone of voice, use of space, etc.
In verbal communication, messages are sent through speeches or through documents.
A good medium is one that (1) can convey a message using more than one type of clue
(visual and verbal and vocal), (2) can facilitate feedback, and (3) can establish personal
focus. The richest medium is a face-to-face conversation
4. The receiver gets the message:
5. The receiver decodes the message: The receiver always decodes the message using his
or her knowledge of the code used to encode the message.
Channel: A Channel is the link between the sender and the receiver and is an essential
tool for communication. The Channel should be chosen appropriately at the appropriate
time and for the appropriate audience in order for it to function effectively.
Feedback: It means response or reaction to the sender once the message is received.
Types of Communication
1.Intrapersonal Communication
2.Interpersonal Communication
3.Group Communication
4.Mass Communication
5.Mass-line Communication
Functions of Mass Media
1.To inform
2.To educate
3.To entertain
4.Transmission of heritage
5.Commercial
Development of Mass Media
Western Mass communication scholars have identified a development
progression cycle called as the EPS i.e. Elite-Popular-Specialization.
This cycle holds that all media develop in three stages.
•Personal
•Psychological
•Social
•Moral
•Cultural
5. Communication as Dialogue
Brazilian educationist, Paul Friere
Communication as a dialogic and ‘participatory’ relationship is at the heart of South
American perspective. They key elements here are ‘liberation’, ‘participation’ and
‘conscientization’.
This model challenges the Aristotelian model of communication which focusses on
‘transmission’ and ‘transportation’.
•In recent years communication scholars in India and Sri Lanka have made
attempts to develop theories of communication based on Indian classical
texts and on popular Indian culture.
•Indian theory of communication forms a part of Indian poetics; and can
be traced to a period between second century B.C. and first century A.D.
in the works of Bharata.
•It draws it central idea from the concept of Sadharanikaran (which is
quite close in meaning to the Latin term communis, commonness, from
which the word communication is derived.)
•The most important assumption in the process of sadharanikaran is that
it can be achieved only among sahridayas, i.e. only those who have a
capacity to accept a message. This is an innate ability acquired through
culture, adaptation and learning. Thus communication is an activity
amongst sahridayas.
1. Bharata Muni’s Theory
Permanent Mood
1) Bhayanaka -- Bhanayak (Anger)
2) Hrsha -- Hasya (Humour)
3) Din – Karuna (Compassion)
4) Saumya – Shant (Peace)
5) Shringar – Prem (Love)
6) Rudra (Terror)
7) Bibhatsa (Disgust)
8) Adbhuta (Wonder)
9) Vir – Shaurya (Valor/Heroism)
• These Sthaibhavas are accompanied by many fleeting or secondary
moods that are common to several dominant moods and serve the
purpose of completely manifesting the permanent moods. These are
called sancharis or vyabhichari bhavas.
• In addition there are vibhavas and anubhavas.
Sthayibhava
Sancharibhava Vyabhicharibhava
Vibhav Anubhav
Sadharanikaran
2.Hindu Theory (Philosophical View)
Second Indian Theory of Communication is from the Hindu philosophical
perspective.
Indian concept takes into account the place of an individual in the universal
context and considers one’s relationship with other living and nonliving elements
of the environment.
Hindu concept of universe is based on the ‘Virat Purush’ (cosmic man) view. i.e.
that Dharma is the basic principle of the whole universe and is existing eternally.
This natural law of Dharma regulates human existence and governs relations of
individual beings; communication too is governed by the same law.
3.Buddhist Theory
Wimal Dassanayaka draws on the Vedas, the Upanishads, and non-philosophical
tradition.
The primary focus of this model is how the receiver makes sense of the stimuli he
receives so as to deepen his self awareness.
He argues in Indian tradition, ‘communication is an inward search for meaning – a
process leading to self-awareness, then to freedom, finally to truth.’
Mass Communication and Mass Culture
•Culture can be defined as the beliefs, values, or other frameworks of reference
by which we make sense of our experiences. It also concerns how we
communicate these values and ideas.
•The concept of Mass Culture refers to a whole range of popular activities and
artefacts to entertainments, spectacles, music, books, films – but has become
identified with the typical content of mass media and especially with the fictional,
dramatic and entertainment material which they provide.
•Indian Cinema has qualities of a mass culture product but it is doubtfull if it is the
only factor that contributes to the ‘mass culture’
Features
1.Immense popularity amongst all classes, but particularly among the
working class in industrial societies.
2.Mass production and mass distribution
3.Unlike ‘elite’ or ‘high’ culture is aesthetic and literary standards are low,
and commercialised, as it is mass produced programmes aim at the mass
market.
In the modern times, Journalism has been turned into a business and an
industry.
It’s main functions is to carry different kinds of advertisements that help it
to be financially viable and politically independent.
It’s other functions include reporting local, national and international news
and offering interpretation and opinions into a business venture, the
fundamental function remains to sell readers to advertisers.
Besides, it aims at educationg and entertaining its readers so that they can
participate fully in the affairs of the state and in the cultural affairs as well.
Industrial Revolution
•Newspapers of that time were in English, and the news only related to British
activity in India. As the readers were also British, the local population was not
the target. But the Company feared that these Indian papers could get to
England and may defame the Company in England. English papers used to take
nine months to reach India.
•By the early 19th century, many cities in Europe, as well as North and South
America, published newspaper-type publications though not all of them
developed in the same way; content was vastly shaped by regional and cultural
preferences.
• Advances in printing technology related to the Industrial Revolution enabled
newspapers to become an even more widely circulated means of
communication.
•This innovation made newspapers cheaper and thus available to a larger part
of the population.
A Short History of Newspapers and Magazines
• In November 1781, India Gazette was also introduced; it was pro Government
and against Hickey.
• 1780
The first newspaper in India was published by James Hicky in January 1780. It was
called the Bengal Gazette and announced itself as “a weekly political and commercial
paper open to all parties but influenced by none”.
Bengal Gazette was a two-sheet paper measuring 12 inches by 8 inches, most of the space
being occupied by advertisements. Its circulation reached a maximum of 200 copies.
Within six years of Bengal Gazette, four more weeklies were launched in Kolkata (then
Calcutta)
• 1782
Madras Courier was launched
• 1791
Bombay Herald was launched
• 1792
Bombay Courier was launched in 1792. It published advertisements in English and
Gujarati.
• 1799
In 1799, the East India administration passed regulations to increase its control over the
press.
• 1816
The first newspaper under Indian administration appeared in 1816. It was also called
Bengal Gazette and was published by Gangadhar Bhattacharjee. It was a liberal paper
which advocated the reforms of Raja Ram Mohan Roy.
Raja Ram Mohan Roy himself brought out a magazine in Persian called Mirat-ul-Ukhbar
• 1857
The Uprising of 1857 brought out the divide between Indian owned and British owned
newspapers. The government passed the Gagging Act of 1847 and the Vernacular Press
Act in 1876
• 1920s and 1930s
Newspapers in this period started reflecting popular political opinion. While big
English dailies were loyal to the British government, the vernacular press was
strongly nationalist.
The Leader and Bombay Chronicle were pro-Congress.
The Servant of India and The Bombay Chronicle were moderate.
The Bande Mataram of Aurbindo Ghosh, Kal of Poona and Sakli of Surat were
fiercely nationalist
• As more and more Indians started learning English, many became reporters, editors and
even owners. The Anglo-Indian press began to lose ground except in Bombay and Calcutta.
• In 1927, industrialist G D Birla took over Hindustan Times and placed it on a sound financial
footing.
• In the same year, S Sadanand started the Free Press Journal, a newspaper for the poor and
the middle-class in Mumbai
Role of Press
•Watch dog of democratic society
•Social Responsibility
•Investigation of scams
•To propagate social reforms
•Passing information
•Sharing information
•Motivating Power of the society
•Emphasising education
•Opinion Builder
•Generate debate
•Act as people's mouth piece
•The press occupation is pivotal a position in the life of a nation and it’s
people.
•Eradication of social evils
•Guardian of the rights and liberty of people
Press Council of India
•It is a statutory body consisting of 28 members representing owners of
the newspapers, news agencies, journalists, educationalists, legal experts
and expats on various subjects
Functions:
•This body has the power to warn and stop and censor any editor’s or
journalist’s work who flouts the standard of journalistic ethics and public
texts.
Aims:
•PCI has been established to preserve and improve freedom of press on
one hand and on the other hand to maintain and improve the standard of
newspaper and new agencies. The PCI takes care of the press codes and
press ethics in the following manner:
1.Freedom on information
2.Freedom of access to information sources
3.Objectivity, truthfulness and interpretation of facts
4.Responsibility to public and it’s rights, interest and in relation to national,
racial and religious communities of the nation, the state and to maintain
peace.
6. The obligation to restrain from bias, unfounded standards and violations
of peace
7. Integrity and independence: the right of reply and correction
8. Maintain professional confidentiality
9. Consideration for cultural, social or ethic code of individual countries or
communities
Freedom of Press
Article 19 (1) clearly states that right to freedom of speech and expression
is the fundamental right for every citizen of India.
The same article states that Freedom of Press is included in there.
Freedom of press is essential in any democratic society for healthy
development. It helps people at large to know about the undercurrents of
the national scenario.
The press is a great social asset as it works as a watch dog on various
activities and authorities by exercising it’s role.
Countries which curb the freedom of press suffer great losses in the long
run.
With freedom of press we cannot overlook the security of the individual
being forgone, chaos in public life and disruption of harmony among many
social groups. If any news report causes the aforementioned factors, the
press should not allow it.
Anything that disturbs security and integrity of the nation, communal
harmony, international relationship, chaos in public life or interference in
private life or matters in relation to the contempt of the court is considered
offense and legal action are provided
Therefore there are media laws which curtail press freedom.
Avoid:
— Too much secondary detail
— Abstract and general language
— Vagueness
Do:
— Be specific and concrete, give a picture, a clever phrase
— Convey energy and action
Unit 3: Television, Radio, E-media
Topics: A
Development of TV in India
•Experiments in Television broadcasting were initiated during the 1920s in the
United States and Europe.
•Evolution of mechanical scanning disk , iconoscope in 192, the electric television
tube later on, then the kinescope or picture tube followed by the electronic camera
and TV home receivers gave impetus to the growth of this medium in it’s early
years.
•By 1930s NBC , National Broadcasting Corporation had set up a TV station in New
York and BBC in London that offered regular telecast programmes.
•The World War put a brake on further developments, though Nazi propaganda
made a good use of this medium.
•Eventually by 1962, age of Satellite Communication had dawned.
Development of TV in India
•Television is one of the major mass media of India and is a huge industry and has
thousands of programmes in all the states of India.
•Approximately half of all Indian households own a television. As of 2010, the country
has a collection of free and subscription services over a variety of distribution media,
through which there are over 515 channels and 150 are pay channels.
•Terrestrial television in India started with the experimental telecast starting in Delhi
on 15 September 1959 with a small transmitter and a makeshift studio
•The regular daily transmission started in 1965 as a part of All India Radio. The
television service was extended to Bombay (now Mumbai) and Amritsar in 1972.
•Up until 1975, only seven Indian cities had a television service and Doordarshan
remained the sole provider of television in India. Television services were separated
from radio in 1976
•National telecasts were introduced in 1982. In the same year, colour TV was
introduced in the Indian market. Indian small screen programming started off in the
early 1980s. At that time there was only one national channel Doordarshan, which was
government owned
•The Ramayana and Mahabharata (both Indian mythological stories) were the first
major television series produced.
• By the late 1980s more and more people started to own television sets. Though
there was a single channel, television programming had reached saturation. Hence
the government opened up another channel which had part national programming
and part regional. This channel was known as DD 2 later DD Metro. Both channels
were broadcast terrestrially.
• PAS-1 and PAS-4 are satellites whose transponders help in the telecasting of DD
programmes in half the regions of the world.An international channel called DD
International was started in 1995 and it telecasts programmes for 19 hours a day to
foreign countries-via PAS-4 to Europe,Asia and Africa,and via PAS-1 to North
America.
• The central government launched a series of economic and social reforms in 1991.
Under the new policies the government allowed private and foreign broadcasters to
engage in limited operations in India.
• Foreign channels like CNN, Star TV and domestic channels such as Zee TV and Sun
TV started satellite broadcasts. Starting with 41 sets in 1962 and one channel, by
1991 TV in India covered more than 70 million homes giving a viewing population of
more than 400 million individuals through more than 100 channels.
TV as mass media
The primary general objectives from an Indian perspective were to educate the
populace about issues related to family planning, agricultural practices and
national integration.
The secondary objectives were to impart general school and adult education,
train teachers, improve other occupational skills and to improve general health
and hygiene through the medium of satellite broadcasts.
Besides these social objectives, India also wanted to gain experience in all the
technical aspects of the system, including broadcast and reception facilities and
TV program material.
The primary US objective was to test the design and functioning of an efficient,
medium-power, wide bandspace-borne FM transmitter, operating in the 800–
900 MHz band and gain experience on the utilisation of this space application.
Village Selection
As the broadcasting time was limited, it was decided that the direct reception
receivers would only be installed in 2400 villages in six regions spread across the
country. Technical and social criteria were used to select suitable areas to
conduct this experiment. A computer program was specially designed at ISRO to
help make this selection. As one of the aims of the experiment was to study the
potential of TV as a medium of development, the villages were chosen
specifically for their backwardness. According to the 1971 census of India, the
states having the most number of backward districts in the country
were Orissa, Bihar, Andhra Pradesh, Uttar Pradesh, Rajasthan, Madhya
Pradesh, West Bengal and Karnataka.
Impact
•The SITE transmissions had a very significant impact in the Indian villages. For the entire
year, thousands of villagers gathered around the TV set and watched the shows.
•Studies were conducted on the social impact of the experiment and on viewership trends. It
was found that general interest and viewership were highest in the first few months of the
program (200 to 600 people per TV set) and then declined gradually (60 to 80 people per TV
set). This decline was due to several factors, including faults developing in the television
equipment, failure in electricity supply, and hardware defects, as also the villagers' pre-
occupation with domestic or agricultural work.
•Impact on the rural population was highest in the fields of agriculture and family planning.
•Nearly 52% of viewers reported themselves amenable to applying the new knowledge gained
by them.
•Before SITE, the focus was on the use of terrestrial transmission for television signals. But
SITE showed that India could make use of advanced technology to fulfill the socio-economic
needs of the country.
•This led to an increased focus on satellite broadcasting in India. ISRO began preparations for a
country-wide satellite system. After conducting several technical experiments, the Indian
National Satellite System was launched by ISRO in 1982.
•The Indian space program remained committed to the goal of using satellites for educational
purposes.
•In September 2004, India launched EDUSAT, which was the first satellite in the world built
exclusively to serve the educational sector. EDUSAT is used to meet the demand for an
interactive satellite-based distance education system for India.
Educational TV
•Use of television as an instructional medium was first reported in 1932 by State University
of IOWA in USA on an experimental basis in a world fair. Later on, due to the World War II
the introduction of television was slowed down; and as a result by 1948 there were very few
educational institutions involved in using television as an instructional medium in spite of
great interest in television by the educationists.
•In India, since the inception of TV network, television has been perceived as an efficient
force of education and development. With its large audience it has attracted educators as
being an efficient tool for imparting education to primary, secondary and university level
students. Some of the major educational television projects are discussed as hereunder:
•Secondary School television project (1961): aim to improve the standard of teaching in view
of shortage of laboratories, space, equipment and dearth of qualified teachers in Delhi this
project started on experimental basis in October 1961 for teaching of Physics, Chemistry,
English and Hindi for students of Class XI.
•Delhi Agriculture Television (DATV) Project (Krishi Darshan) (1966): The project named
Krishi Darshan was initiated on January 26, 1966 for communicating agricultural information
to the farmers on experimental basis for the 80 selected villages of Union territory of Delhi
through Community viewing of television and further discussions among themselves.
•Satellite Instructional Television Experiment (SITE) (1975)
• Indian National Satellite project (INSAT) (1982):The prime objective of the INSAT project
was aimed at making the rural masses aware of the latest developments in the areas of
agricultural productivity, health and hygiene. It was initially targeted at villagers and their
school going Children of selected villages in Orissa, Andhra Pradesh, Bihar, Gujrat,
Maharastra and Uttar Pradesh.
• UGC-Higher Education Television Project (HETV) (1984)
University students were the beneficiaries of this project. The University Grants
Commission in collaboration with INSAT started educational television project, popularly
known as ‘Country wide Classroom’ on August 15, 1984 with the aim to update, upgrade
and enrich the quality of education while extending their reach.
• IGNOU-Doordarshan Telecast (1991): aim to provide tele-counselling to students of open
universities in remote areas. Owing to the encouraging response from viewers, the
frequency of this project was increased to five days a week. This programme is very
popular.
• Gyan-Darshan Educational Channel (2000) : Ministry of Human Resource Development,
Information & Broadcasting, the Prasar Bharti and IGNOU launched Gyan Darshan (GD)
jointly on 26th January 2000 as the exclusive Educational TV Channel of India.
http://tojde.anadolu.edu.tr/tojde8/articles/educationaltv.htm
TV Production
The executive producer, often the show's creator, is in charge of running the show. They
pick the crew and help cast the actors, approve and sometimes write series plots (some
even write or direct major episodes). Various other producers help to ensure that the
show runs smoothly.
As with filmmaking or other electronic media production, production of an individual
episode can be divided into three parts. These are:
Pre-production
Pre-production begins when a script is approved. Pre-production tasks include
storyboarding, construction of sets, props, and costumes, casting guest stars, budgeting,
acquiring resources like lighting, special effects, stunts, etc.
Principal photography
Principal photography is the actual filming of the episode. Director, actors and crew will
gather at a television studio or on location for filming or videoing a scene. A scene is
further divided into shots, which should be planned during pre-production. Depending
on scheduling, a scene may be shot in non-sequential order of the story.
Post production
Once principal photography is complete, producers coordinate tasks to begin the video
editing. Visual and digital video effects are added to the film; this is often outsourced to
companies specializing in these areas. Often music is performed with the conductor
using the film as a time reference (other musical elements may be previously recorded).
An editor cuts the various pieces of film together, adds the musical score and effects,
determines scene transitions, and assembles the completed show.
TV Genre
Genre: "kind" or "sort“
is the term for any category of literature or other forms of art or culture, e.g. music, and in
general, any type of discourse, whether written or spoken, audial or visual, based on some
set of stylistic criteria. Genres are formed by conventions that change over time as new
genres are invented and the use of old ones are discontinued. Often, works fit into multiple
genres by way of borrowing and recombining these conventions.
TV News
TV Documentaries or Features/ Factual Television
Talk Shows
Children’s Programmes
‘Talent Hunt’ Shows
Reality TV
Religious Programmes
Other Genres
Soap Operas
Telenovela
Refer:
http://www.wikipedia.org
TV and Development
Public television in India, according to various Prasar Bharati and Doordarshan
publications, has the following social objectives:
•In Europe, public service oriented broadcasting supported by taxes or license fees rather
than advertising oriented commercial broadcasting found widespread favour.
•Thus as CBS Columbia Broadcasting Station and NBC National Broadcasting Stations in
the US were established as private stations, the British Government took the initiative ti
set up BBC in 1920 as an autoomous public service corporation.
Development of Radio in India
•Broadcasting was introduced in India by amateur radio clubs in Calcutta, Bombay,
Madras and Lahore.
•Before the clubs launched their ventures, several experimental broadcasts were
conducted in Bombay and other cities.
•The Times of India records that a broadcast was transmitted from the roof of it’s
building on August 20, 1921.
•By the mid-1930s, there were around 20 amateur radio operators in India
•Amateur radio operators played an important part in the Indian independence
movement with the establishment of illegal pro-independence radio stations in the
1940s.
•The three decades after India's independence saw only slow growth in the numbers of
operators until the then Prime Minister of India and amateur radio operator, Rajiv
Gandhi, waived the import duty on wireless equipment in 1984.
•Since then, numbers have picked up, and as of 2007, there were more than 16,000
operators in the country.
•Amateur radio operators have played a vital role during disasters and national
emergencies such as earthquakes, tsunamis, cyclones, floods, and bomb blasts, by
providing voluntary emergency communications in the affected areas.
All India Radio
•All India Radio (AIR), officially known since 1956 as Akashvani is the radio broadcaster of
India and a division of Prasar Bharati. Established in 1936, it is the sister service of Prasar
Bharati's Doordarshan, the national television broadcaster. All India Radio is one of the largest
radio networks in the world.
•In British India, broadcasting began in June 1923 with programmes by the Radio Club of
Bombay and other radio clubs.
•According to an agreement of 1926, the private Indian Broadcasting Company (IBC) was
authorized to operate two radio stations; the Bombay station began on 23 July 1927, and the
Calcutta station followed on 26 August 1927.
•On 1 March 1930, however, the company went into liquidation.
•The government took over the broadcasting facilities, beginning the Indian State
Broadcasting Service (ISBS) on 1 April 1930 (on an experimental basis for two years, and
permanently in May 1932). On 8 June 1936 the ISBS was renamed All India Radio.
•When India became independent in 1947 the AIR network had only six stations (in Delhi,
Bombay, Calcutta, Madras, Lucknow, and Tiruchi); the total number of radio sets at that time
was about 275,000.
•On 3 October 1957 the Vividh Bharati Service was launched, to compete with Radio Ceylon.
•Television broadcasting began in Delhi in 1959 as part of AIR, but was split off from the radio
network as Doordarshan on 1 April 1976.
•FM broadcasting began on 23 July 1977 in Madras, and was expanded during the 1990s.
AIR Services
Vividh Bharati
Prasar Bharati
Regional Services:
The headquarters of the Regional Deputy Directors General are located at Delhi and
Chandigarh (NR), Lucknow and Bhopal (CR), Guwahati (NER), Kolkata (ER), Mumbai and
Ahmedabad (WR), Chennai and Bangaluru (SR).
External Services:The external services of All India Radio broadcast in 27 languages to
countries outside India. The first broadcasts were in Pushto, beamed to Afghanistan and
the North-West Frontier Province. Soon broadcasts began in other languages including Dari,
Persian, Arabic, English, Burmese, Japanese, Chinese, Malay and French. The external services
broadcast in 16 foreign and 11 Indian languages, with a total program output of 70¼ hours per
day on medium- and shortwave.
News-On-Phone Service:All India Radio launched news-on-phone service on 25 February
1998 in New Delhi; it now has service in Chennai, Mumbai, Hyderabad, Indore, Patna and
Bangalore. The service is accessible through STD, ISD and local calls
Direct-To-Home Service:Direct-to-home (DTH) service is offered on 21 channels via Insat.
FM
AIR Programmes
News Bulletins
NewsReels
Documentaries/Radio features
Radio Plays
Radio Talks
Music Programmes
Movie trailers
Quizzes
Vividh Bharati
The Vividh Bharati Service of All India Radio was conceptualized to combat Radio
Ceylon in 1957. Within no time it proved to be a popular channel of every
household. Vividh Bharati radio channel was launched on October 3, 1957. The service
provides entertainment for nearly 15 to 17 hours a day.
Vividh Bharati is one of the best-known services of AIR. Its name roughly translates as
"Multi-Indian Service", and it is also known as the Commercial Broadcasting Service
(CBS).
It is the most commercially-accessible of the AIR networks and is popular in Mumbai and
other large cities.
Vividh Bharati offers a wide range of programmes including news, film music and comedy
programs.
It operates on different medium wave-band frequencies for each city.
40 Vividh Bharati stations across the country down-linked these programmes through
captive earth stations provided at each of these AIR stations.
These 40 Vividh Bharati stations are known as Commercial Broadcasting Service Stations
and are located at all major and commercially vibrant cities covering 97% of the Indian
population.
Development
•Indian Advertising starts with the hawkers calling out their wares right from the
days when cities and markets first began
•Shop front signage
•From street side sellers to press ads
http://wiki.answers.com/Q/History_of_advertising_in_India
We live in the times of excessiveness. More populations leads to greater demand and
thus mass production of good and services.
Mass production demands a mass market and a mass distribution system.
The very survival of this production system demands its continuous expansion.
Such an expansion means also the expansion of the market, beyond the seats of
production and even beyond the boundaries of the country.
This may be called the horizontal, spatial or geographical expansion of the market.
Such an expansion' is both national and international.
At the same time there is also a vertical expansion of the market. The objective is
to bring the entire society within the orbit of the market.
This does not mean only providing the individual or the family with the resources
to purchase goods and services in the market. A disposable surplus is not enough.
A 'psychic desire' to consume more and different products has also to be created.
Expansion of the market also means the creation of new goods and services and
making them acceptable to the consumer.
Without such a continuous expansion of the market, the capitalist economy
cannot survive.
This is a constant process of the renewal and increase of capital passing through
the market.
For this, people have to be informed, motivated and persuaded.
With a mass market, national and international, this is only possible through a
specialized communication system.
Thus, modem advertising evolved, to meet precisely this requirement of the capitalist
economic system.
Its social relevance is to direct the desires of human beings, latent and expressed,
and their needs, in such a way, as to ensure the continuation and expansion of
sales of goods and services, so essential to sustain mass production by accumulated
capital.
In the process of bringing consumers in touch with products or services, advertising
also helps create new consumers. Thus, it is involved in the social production of
consumers.
Advertising is a component of a democratic society. The essence of democracy is
that people have a choice and the right to exercise that choice.
In the democratic economic system a variety of goods and services is available to
choose from. Advertising enables the consumer to make the choice.
In simple words, one can say that Advertisements tell consumers what to buy.
The main features of advertising are as under:
•It is non-personal. They are directed at a mass audience and nor at the individual as is
in the case of personal selling.
•Advertisement are identifiable with their sponsor of originator which is not always the
case with publicity or propaganda.
Benefits or Importance of Advertisement
Advertising broadens the knowledge of the consumers.
With the aid of advertising, consumers find and buy necessary products without much
waste of time.
Benefits to Consumers
•Advertising stresses quality and very often prices. This forms an indirect
guarantee to the consumers of the quality and price. Further large scale
production assumed by advertising enables the seller to seller product at a lower
cost.
•Advertising helps in eliminating the middlemen by establishing direct contacts
between producers and consumers. It results in cheaper goods.
•It helps them to know where and when the products are available. This reduces
their shopping time.
•It provides an opportunity to the customers to compare the merits and demerits
of various substitute products.
•This is perhaps the only medium through which consumers could know the varied
and new uses of the product.
•Modern advertisements are highly informative.
Benefits to Community or Society
•Advertising, in general, is educative in nature. In the words of the late President
Roosevelt of the U.S.A., "Advertising brings to the greatest number of people actual
knowledge concerning useful things: it is essentially a form of education and the
progress of civilization depends on education."
•Advertising leads to a large-scale production creating more employment
opportunities to the public in various jobs directly or indirectly.
•It initiates a process of creating more wants and their satisfaction higher standard
of living. For example, advertising has made more popular and universal the uses of
such inventions as the automobiles, radios, and various household appliances.
•Newspapers would not have become so popular and so cheap if there had been no
advertisements. The cheap production of newspapers is possible only through the
publication of advertisements in them. It sustains the press.
•It assures employment opportunities for the professional men and artist.
•Advertising does provide a glimpse of a country's way of life. It is, in fact, a running
commentary on the way of living and the behaviour of the people and is also an
indicator of some of the future in this regard.
Various media for Advertising
Advertising media are the means to transmit the message of the advertiser to the
desired class of people. Channels or vehicle by which an advertising message is brought
to the notice of the prospective buyer:
Types of Media
There is no dearth of media today. It may be direct or indirect. Direct method of
advertising refers to such methods used by the advertiser with which he could establish
a direct contact with the prospective hand involve the use of a hired agency for
spreading the information. Most of the media are indirect in nature, e.g., press publicity,
cinema, etc. The various media that are commonly used are being explained here under:
Newspapers
Newspaper (Hindi or English) (morning or evening editions) are bought largely for their
news value as such they are most appropriate for announcing new products and new
development of existing products. The choice of a particular news paper for advertising
depends upon many factors i.e., circulation of the newspaper, the type of readers it
serves, the geographical region in which it is popular, the costs of space and general
reputation of the paper etc.
Magazines
Another medium under press publicity is magazines and journals. They also offer good
facility because magazine are read leisurely when the reader is mentally prepared to
receive advertisements
Advertising Appeal
The most basic of human needs is the need for food, clothing and shelter. Special
need for these necessities cannot be created with advertising. However there are
certain other products that provide comfort in life and advertising aims to generate
demand for these products. Advertising uses appeals as a way of persuading people
to buy certain products. Advertising appeals are designed in a way so as to create a
positive image of the individuals who use certain products. Advertising agencies and
companies use different types of advertising appeals to influence the purchasing
decisions of people.
The most important types of advertising appeals include emotional and rational
appeals. Emotional appeals are often effective for the youth while rational appeals
work well for products directed towards the older generation. Here are just some of
the various different kinds of advertising appeals seen in the media today:
Emotional Appeal
An emotional appeal is related to an individual’s psychological and social needs for
purchasing certain products and services. Many consumers are emotionally motivated or
driven to make certain purchases. Advertisers aim to cash in on the emotional appeal
and this works particularly well where there is not much difference between multiple
product brands and its offerings. Emotional appeal includes personal and social aspects.
1. Personal Appeal
Some personal emotions that can drive individuals to purchase products include safety,
fear, love, humor, joy, happiness, sentiment, stimulation, pride, self esteem, pleasure,
comfort, ambition, nostalgia etc.
2. Social Appeal
Social factors cause people to make purchases and include such aspects as recognition,
respect, involvement, affiliation, rejection, acceptance, status and approval.
3. Fear Appeal
Fear is also an important factor that can have incredible influence on individuals. Fear is
often used to good effect in advertising and marketing campaigns of beauty and health
products including insurance. Advertising experts indicate that using moderate levels of
fear in advertising can prove to be effective.
Humour Appeal
Humour is an element that is used in around 30% of the advertisements. Humour can
be an excellent tool to catch the viewer’s attention and help in achieving instant recall
which can work well for the sale of the product. Humour can be used effectively when
it is related to some benefit that the customer can derive without which the joke might
overpower the message.
Sex Appeal
Sexuality, sexual suggestiveness, over sexuality or sensuality raises curiosity of the
audience and can result in strong feelings about the advertisement. It can also result in
the product appearing interesting. However use of sex in types of advertising appeals
can have a boomerang effect if it is not used carefully. It can interfere with the actual
message of the advertisement and purpose of the product and can also cause low
brand recall. If this is used then it should be an integral part of the product and should
not seem vulgar. The shift should be towards sensuality.
Music Appeal
Music can be used as types of advertising appeals as it has a certain intrinsic value
and can help in increasing the persuasiveness of the advertisement. It can also
help capture attention and increase customer recall.
Scarcity Appeal
Scarcity appeals are based on limited supplies or limited time period for purchase
of products and are often used while employing promotional tools including
sweepstakes, contests etc.
Rational Appeal
Rational appeals as the name suggests aims to focus on the individual’s functional,
utilitarian or practical needs for particular products and services. Such appeals
emphasize the characteristics and features of the product and the service and
how it would be beneficial to own or use the particular brand. Print media is
particularly well suited for rational appeals and is often used with good success. It
is also suited for business to business advertisers and for products that are
complex and that need high degree of attention and involvement.
Masculine Feminine Appeal
Used in cosmetic or beauty products and also clothing. This type of appeal
aims at creating the impression of the perfect person. The message is that
the product will infuse the perfection or the stated qualities in you.
Brand Appeal
This appeal is directed towards people who are brand conscious and wish to
choose particular products to make a brand statement.
Snob Appeal
This appeal is directed towards creating feeling of desire or envy for
products that are termed top of the line or that have considerable qualities
of luxury, elegance associated with them.
Adventure Appeal
This appeal is directed towards giving the impression that purchasing a
product will change the individual’s life radically and fill it with fun,
adventure and action.
Less than Perfect Appeal
Advertisements often try to influence people to make certain purchases by pointing
out their inadequacies or making them feel less perfect and more dissatisfied with
their present condition. These types of advertising appeals are used in cosmetic and
health industries.
Romance Appeal
These advertisements display the attraction between man and woman. The appeal is
used to signify that buying certain products will have a positive impact on the
opposite sex and improve your romantic or love life. Frangrances, automobiles and
other products use these types of advertising appeals.
Youth Appeal
Advertisements that reflect youth giving aspects or ingredients of products use
these types of appeals. Cosmetic products in particular make use of these appeals.
Endorsement
Celebrities and well known personalities often endorse certain products and their
pitching can help drive the sales.
Play on Words
Advertisements also make effective use of catch phrases to convey the message.
Such appeals help in brand recognition and recall and can be quite popular with the
youth in particular.
Statistics
Advertisements also use statistics and figures to display aspects of the product and
its popularity in particular.
Plain Appeal
These advertisements use every day aspects of life and appeal to ordinary people
regarding the use of a product or service.
Bandwagon Appeal
This type of advertising appeal is meant to signify that since everybody is doing
something you should be a part of the crowd as well. It appeals towards the
popularity aspect or coolness aspect of a person using a particular product or
service.
Advertising Industry
The Indian advertising industry is talking business today. It has evolved from being a small-
scale business to a full-fledged industry. It has emerged as one of the major industries
has broadened its horizons be it the creative aspect, the capital employed or the number of
personnel involved. Indian advertising industry in very little time has carved a niche for itself
and placed itself on the global map.
Indian advertising industry with an estimated value of es 13, 200-crore has made jaws drop
and set eyeballs gazing with some astonishing pieces of work that it has given in the recent
past. The creative minds that the Indian advertising industry incorporates have come up
with some mind-boggling concepts and work that can be termed as masterpieces in the field
of advertising.
Advertising agencies in the country too have taken a leap. They have come a long way from
being small and medium sized industries to becoming well known brands in the business.
Mudra, Ogilvy and Mathew (O&M), Mccann Ericsonn, Rediffussion, Leo Burnett are some of
the top agencies of the country.
Indian economy is on a boom and the market is on a continuous trail of expansion. With the
market gaining grounds Indian advertising has every reason to celebrate. Businesses are
looking up to advertising as a tool to cash in on lucrative business opportunities. Growth in
business has lead to a consecutive boom in the advertising industry as well.
The Indian advertising today handles both national and international projects. This is
primarily because of the reason that the industry offers a host of functions to its clients that
include everything from start to finish that include client servicing, media planning, media
buying, creative conceptualization, pre and post campaign analysis, market research,
marketing, branding, and public relation services.
Keeping in mind the current pace at which the Indian advertising industry is moving the
industry is expected to witness a major boom in the times ahead. If the experts are to be
believed then the industry in the coming times will form a major contribution to the GDP.
With al this there is definitely no looking back for the Indian advertising industry that is all set
to win accolades from the world over.
Unit 4: Cinema
A short history of Indian cinema
•Following the screening of the Lumière moving pictures in London (1895) cinema became a
sensation across Europe and by July 1896 the Lumière films had been in show in Bombay.
•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 Harish Chandra (1913), a silent film in Marathi. The female roles in the film
were played by male actors.
•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 was 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.
•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 song-and-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.
• The Indian Masala film—a slang used for commercial films with song, dance, romance etc.
—came up following the second world war.
• 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.
• After Indian 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.
• 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.
• Commercial Hindi cinema further grew throughout the 1980s and the 1990s
• 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.
• 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."
• The third influence was the traditional folk theatre of India, which became popular from
around the 10th century with the decline of Sanskrit theatre. These regional traditions
include the Yatra of 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 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.
Regional Cinema
Hindi cinema
The Hindi language film industry of Mumbai—also known as Bollywood—is the largest
and most popular branch of Indian cinema. Hindi cinema 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. Hindi cinema grew
during the 1990s with the release of as many as 215 films. With Dilwale Dulhania Le
Jayenge, Hindi cinema registered its commercial presence in the Western world.
In 1995 the Indian economy began showing sustainable annual growth, and Hindi
cinema, as a commercial enterprise.
The salary of lead stars increased greatly. 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 Hindi films.[A number of magazines such
as Filmfare, Stardust, Cineblitz, etc., became popular.
Gujarati cinema
•The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely
contributed to Indian cinema. Gujarati cinema has gained popularity among the regional film
industry in India. Gujarati cinema is always based on scripts from mythology to history and
social to political. Since its origin Gujarati cinema has experimented with stories and issues
from the Indian society.
•The scripts and stories dealt in the Gujarati films are intrinsically humane. They include
relationship- and family-oriented subjects with human aspirations and deal with Indian family
culture. Thus, there can be no turning away from the essential humanity of these Gujarati
cinema. The first Gujarati movie, Narasinh Mehta, was released in the year 1932 and was
directed by Nanubhai Vakil.
Bhojpuri cinema
•Bhojpuri language films predominantly cater to people who live in the regions of
western Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities
of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region.
Besides India, there is a large market for these films in other bhojpuri speaking countries of
the West Indies, Oceania, and South America. Bhojpuri language film's history begins in 1962.
•Although a smaller industry compared to other Indian film industries, the extremely rapid
success of their films has led to dramatic increases in Bhojpuri cinema's visibility, and the
industry now supports an awards show and a trade magazine,Bhojpuri City.
Bengali cinema
•The Bengali language cinematic tradition has had reputable filmmakers such as Satyajit Ray,
Ritwik Ghatak and Mrinal Sen among its most acclaimed. Recent Bengali films that have
captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.
Bengali filmmaking also includes Bangla science fiction films and films that focus on social
issues. In 1993, the Bengali industry's net output was 57 films.
•The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were
shown in theatres in Kolkata.
• The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s. A long
history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik
Ghatak and others having earned international acclaim and securing their place in the history
of film.
Documentary Films
• A documentary film is a nonfictional motion
picture intended to document some aspect of
reality, primarily for the purposes of
instruction, education, or maintaining a
historical record.
• Social media platforms such as YouTube, have
allowed documentary films to improve the
ways the films are distributed and able to
educate and broaden the reach of people who
receive the information.
Film Censorship
Censorship can be broadly defined as the suppression of knowledge or ideas.
For e.g.
In 2002, the film War and Peace, depicting scenes of nuclear testing and the September 11,
2001 attacks, created by Anand Patwardhan, was asked to make 21 cuts before it was
allowed to have the certificate for release. Patwardhan objected, saying "The cuts that they
asked for are so ridiculous that they won't hold up in court" and "But if these cuts do make it,
it will be the end of freedom of expression in the Indian media." The court decreed the cuts
unconstitutional and the film was shown uncut.
Film Certificate
• U (Unrestricted Public Exhibition)
• Films with the U certification are fit for unrestricted public exhibition and are family friendly.
These films can contain universal themes like education, family, drama, romance, sci-fi,
action etc. Now, these films can also contain some mild violence, but it should not be
prolonged. It may also contain very mild sexual scenes (without any traces of nudity or sexual
detail).
• S (Restricted to any special class of persons)
• Films with S certification should not be viewed by the public. Only people
associated with it (Engineers, Doctors, Scientists, etc.), have permission to watch
those films.
• U/A (Parental Guidance for children below the age of 12 years)
• Films with the U/A certification can contain moderate adult themes, that is not
strong in nature and can be watched by a child under parental guidance. These
films contain moderate to strong violence, moderate sex scenes (very little traces
of nudity and moderate sexual detail can be found), frightening scenes or muted
abusive and filthy language.
• A (Restricted to adults)
• Films with the A certification are available for public exhibition, but with restriction
to adults. These films can contain heavily strong violence, strong sex (but full
frontal and rear nudity is not allowed usually), strong abusive language (but words
which insults or degrades women are not allowed), and even some controversial
and adult themes considered unsuitable for young viewers. Such films are often
recertified for TV and video viewing, which doesn't happen in case of U and U/A
certified movies.
• Additionally, V/U, V/UA, V/A are used for video releases with U, U/A and A carrying the same meaning as
above.
Film Review and Criticism
•Film criticism is the analysis and evaluation of films, individually and collectively. In general,
this can be divided into journalistic criticism that appears regularly in newspapers, and other
popular, mass-media outlets and academic criticism by film scholars that is informed by film
theory and published in journals.
•Traditionally, film reviews have been seen as a way to assess the artistic merit and public
appeal of a movie. Filmgoers use reviews to help them determine whether to view a
particular film. As the number of film fans following the advice of reviewers grew, film
companies saw profits diminish across a broader number of films. In order to counter this
development, film studios increased marketing budgets and avenues of marketing to create
more interest in a movie prior to the opening.
•There has been a decline in the readership of many reviewers for newspapers and other
print publications. The vast majority of film critics on television and radio have all but
disappeared over the last thirty years, as well. It can be observed that most of the discussion
of film on television is focused on the amount of box office business a film does, as if
financial success were the only criterion needed to define artistic success. Today arts
criticism in general does not hold the same place it once held with the general public.
Film Criticism
•A critic is anyone who expresses a value judgement.
•Critical judgements, good or bad, may be positive (in praise of an object of attention),
negative (in dispraise), or balanced (weighing a combination of factors both for and against).
Since all criticism must be regarded as having a purpose, a critic may also be definable by his
or her specific motivation. At its simplest, and for whatever reason, a critic may have either
constructive or destructive intent.
•Film criticism asks that one take an academic approach to films.
•This work is more often known as film theory or film studies. These film critics try to come
to understand why film works, how it works, what it means, and what effects it has on
people. Rather than write for mass-market publications their articles are published in
scholarly journals that tend to be affiliated with university presses; or sometimes in up-
market magazines.