India has the unique distinction of producing the largest number of films anywhere in the world and in many

languages. India produces more than 1000 feature films and 900 short films every year. At a rough estimate, a total of about 15 million people see films in India everyday, either in its over 13,000 cinema houses, or on Video and Cable. It is estimated that an audience as large as India's entire population flocks to its cinema houses every two months. Films have played a major role in developing a post-Independence Indian identity. They have served as a very useful and emphatic medium to portray social, economic and political realities of the Indian society at different times. Films had a pervasive influence on the psyche of a common Indian, who often identified himself with the central character of the film, be it a hero or the heroine. For most Indians, cinema is integral to their lives; it is not a distant, 2-3 hour distraction, but a vicarious lifestyle for them. The large screen provides an alternative, an escape from the realities of day-to-day life. The cinema has largely been an urban phenomenon in India,

Introduction

Introduction
The Indian Film Industry has been one of the oldest segments of the Indian entertainment industry. The Indian Cinema consists of films produced across India, including the cinematic culture of Andhra Pradesh, Assam, Gujarat, Karnataka, Kerala, Mumbai, Punjab, Tamil Nadu and West Bengal. Indian films came to be followed throughout South Asia and the Middle East. As cinema as a medium gained popularity in the country as many as 1,000 films in various languages of India were produced annually. Expatriates in countries such as the United Kingdom and the United States continued to give rise to international audiences for Indian films of various languages especially Telugu, Tamil, Kannada, Malayalam, Bengali and Hindi. 1896 was a significant year for Indian entertainment as it witnessed the arrival of cinema in India. While discussing about the history of Indian cinema the first name that springs up is that of the Lumiere Brothers who demonstrated the art of cinema to the subcontinent. Bombay was the first Indian city that screened Cinematography, six short films by the Lumiere Brothers. The success of these films led to the screening of more foreign films, for instance, Vitagraph by James B. Stewart and Moto-Photoscope by Ted Hughes. In other words introduction of cinema in India took place with the aid of the colonisers. In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global enterprise. Enhanced technology paved the way for upgradation from established cinematic norms of delivering product, radically altering the manner in which content reached the target audience. Indian cinema found markets in over 90 countries where films from India are screened. The country also participated in international film festivals, especially Satyajit Ray (Bengali), Adoor Gopalakrishnan (Malayalam). Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. found success overseas. The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country's Film Producers Guild sent similar missions through Europe. The Indian diaspora consists of millions of Indians overseas for which films are made available both through mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible. These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to the overall revenue of Indian cinema, the net worth of which was found to be 1.3 billion US Dollars in 2000. Music

in Indian cinema is another substantial revenue generator, with the music rights alone accounting for 45% of the net revenues generated by a film in India. India is the world's largest producer of films. In 2009, India produced a total of 2961 films on celluloid, that include a staggering figure of 1288 feature films. The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros. Prominent Indian enterprises such as Zee, UTV, Adlabs and Sun Network's Sun Pictures also participated in producing and distributing films. Tax incentives to multiplexes have aided the multiplex boom in India. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India, making the commercial presence of the medium felt.

Emergence of films in India

Following the screening of the Lumire moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the Lumire films had been in show in Bombay (now Mumbai). The first short films in India were directed by Hiralal Sen, starting with The Flower of Persia (1898). The first full-length motion picture in India was produced by Dadasaheb Phalke, a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent film in Marathi. (Interestingly, the female roles in the film were played by male actors.) The first Indian chain of cinema theaters was owned by the Calcutta entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the Indian subcontinent. During the early twentieth century cinema as a medium gained popularity across India's population and its many economic sections. Tickets were made affordable to the common man at a low price and for the financially capable additional comforts meant additional admission ticket price. Audiences thronged to cinema halls as this affordable medium of entertainment 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. The First Film Studios in India, Mumbai In the 1920s the pioneering stage of Indian cinema was over and many talented people entered this field. All sorts of genres were attempted, such as, comedy, historical films, action and social subjects. In a way it provided the foretaste of the shape Indian cinema would take in the future. There was a greater focus to the cinematographic industry and it attained a more satisfactory technical level. The studio dominated the scene until the 1940s and 1950s. One of the legendary ones was the Kohinoor Film Company in Bombay. It was founded in 1918 by Dwarkadas N Sampat, a professional showman of repute. In the same year he made a film, Sati Ansuya. He also made a Gandhian film using the allegorical mythological subject, Bhakta Vidur. The Kohinoor launched the majority of the actors of the silent screens, like the graceful Sulochana (Ruby Myers), Gohar, Zebunissa and Zubeida. From the beginning the influence of Hollywood on

the Indian film industry was evident. The characteristics of the first studios, such as, a full team covering all the aspects of filmmaking from acting, technical expertise to distribution resembled that of Hollywood. The employees of these studios at Bombay and Kolhapur were more or less permanent ones. They were remunerated on a monthly basis. Bu 1921, twenty-one such units existed in India, though initially most of them were quite small. Indian Cinema Starts Talking Ardeshir Irani released Alam Ara, the first Indian talking film, on 14 March 1931. Following the inception of 'talkies' in India some film stars were highly sought after and earned comfortable incomes through acting. As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabha and Devi Devyani marking the beginning of 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. Bombay Talkies came up in 1934 and Prabhat Studios in Pune had begun production of films meant for the Marathi language audience. Filmmaker R. S. D. Choudhury produced Wrath (1930), banned by the British Raj in India as it depicted actors as Indian leaders, an expression censored during the days of the Indian independence movement. The Indian Masala filma slang used for commercial films with song, dance, romance etc. came up following the second world war. South Indian cinema gained prominence throughout India with the release of S.S. Vasan's Chandralekha. During the 1940s cinema in South India accounted for nearly half of India's cinema halls and cinema came to be viewed as an instrument of cultural revival. The partition of India following its independence divided the nation's assets and a number of studios went to the newly formed Pakistan. The strife of partition would become an enduring subject for film making during the decades that followed. Following independence the cinema of India was inquired by the S.K. Patil Commission. S.K. Patil, head of the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its commercial value. Patil further recommended setting up of a Film Finance Corporation under the Ministry of Finance. This advice was later taken up in 1960 and the institution came into being to provide financial support to talented filmmakers throughout India. The Indian government had established a Films Division by 1949 which eventually became one of the largest documentary film producers in the world with an annual production of over 200 short documentaries, each released in 18 languages with 9000 prints for permanent film theatres across the country.

Current Affairs
India has the world's biggest movie industry in terms of the number of movies produced 1000 movies annually, mostly in the Hindi language. Tamil, Telegu, Bengali and Malayalam are the languages in which most of the non-Hindi films are made). Today, the technology of film-making in India is perhaps the best among all developing countries though the films themselves remain mostly repetitive in storyline and content. Superior movies, in thematic and creative terms, are made in many developing countries with less sophisticated technologies.

Star System: The financing pattern, centred on distributors, is suspected to have changed since the 1960s when the studio system collapsed and 'freelance' performers emerged. This gave rise to the 'star system' in which actors and actresses ceased to have long-term contractual obligations towards any studio or film production. Rather, they began to operate as freelancers commanding fees in proportion to the box office performance of their recent films. This increased costs of film production since the more successful actors and actresses hogged major proportions of the producers' budget. In the changed system, distributors would pay 50 per cent of the film-making cost leaving it to the producer to get the rest from other sources. The 'other' sources are: conventional moneylenders (who lend at an interest rate of 36-40 per cent annually); non-conventional but corporate resources, promissory note system (locally called 'hundi' system): this is the most widely prevalent source, and underworld money: about 5 per cent of the movies are suspected to be financed by these sources. Film production thus became a risky business and the relationship with usurious moneylenders strengthened over the years. As at the start of 2001, a reasonable budget film in Hindi could cost US$1.75 million. A low budget Hindi film can be made for even as low as Rs. 15 million. A big budget Hindi movie can cost in excess of US$30 million. The 'bigness' of the budget is attributable mainly to the high fees paid to 'stars', celebrated music directors, highend technologies and expensive travel costs to shoot in exotic locations worldwide. At the time of writing, it is believed that 'stars' like Shah Rukh Khan and Salman Khan are paid Rs. 20 million (US$440,000) per film. In contrast, script writers and film editors remain poorly paid. India has a National Film Development Corporation (NFDC) which finances some films. A few film makers, who would find it hard to obtain finance from the regular sources, have been financed by the NFDC. However, NFDC cannot be considered to play a central role in the film industry because it finances too few films which, too, are not of the type that has made the Indian film industry so vibrant. It however goes to the NFDC's credit that, without it, some of India's best film makers wouldn't have got a break in the industry. Another shortcoming with the NFDC is that it funds films only at the production stage while ignoring the just-as-important marketing stage.

Globalization of the Indian film industry

Indian Films have gone beyond the geographical boundaries. They have come out of the epoch of love and fantasy and learnt to work on experimental plots. The effect of globalization of Indian cinema is applicable not only to the Bollywood, but also to the regional film industries of the country. Many Indian films are not only making more money outside the home market but also attracting foreign producers and directors to the industry. The four Indian movies nominated for an Oscar in the foreign language category were Mother India (1957), Salaam Bombay (1988) and Lagaan (2001),Slumdog Millionaire(2009). Oscar was brought to India by the legendary film maker Satyajit Ray in the category of Life time Achievement Award (1992). Ray's first film, Pather Panchali (1955), won eleven

international prizes, including Best Human Document at the Cannes film festival. . In 1982, a biographical film on Gandhi won eight Academy Awards, with director Richard Attenborough and Ben Kingsley as Gandhi. This was an international co production between India and UK. Both the production houses were not of an Indian Origin. The globalization of Indian Film Industry began in the late 20th century. The contact between India and western cinema was established l when Dadasaheb Phalke inspired the making of "Raja Harishchandra" after he watched Life of Christ at Mehta's AmericanIndian cinema. In India least 80 percent films shown in the late 1920s were American, but today 80 percent of Indian (mainly hindi ) movies are released worldwide. Bollywood movies include western actors like Rachel Shelley in Lagaan, Giselli Monteiro in Love kaj Kal, Barbari Mori in Kite and Chris Pattern in Rang De Basanti. The globalization effect on the industry has resulted in western production standards, usage of English in the script or incorporation of some element of western-style plots. Bollywood has produced hits like Dilwale Dulhaniya Le Jayenge and Kal Ho Naa Ho, both dealing with the overseas Indian culture. Producers these days fund Indian Filmmakers like Gurinder Chadha (Bride and Prejudice) and Mira Nair (Monsoon Wedding). Chadha and Nair both are of Indian origin and made their names in Western Independent Films. A similar filmmaker is Deepa Mehta of Canada, whose films include Fire, Earth and Water. Indan festivals,traditions,culture have been acknowledged by people worldwide through the Indian cinema. Movies of the Tamil Super Star Rajni Kant have a huge market in Japan. Indian films are not just a part of a region but a part of world cinema today. Therefore film makers now aim at reaching out to a wider audience.The cinema has contributed a great deal in globalisation which has proved very beneficial to the the Indian Film Industry.

Future
This is not intended to be a scare story, however. As mentioned above, the overall entertainment industry in India is taking on professional colours and this will change the culture of the film industry too. Some film production companies, such as Mukta Arts, have made public share issues, thus keeping out of the world of murky financing. The Film Federation of India is actively seeking to make film financing a viable proposition for banks. It is likely that films would also be insured to offset possible losses for banks. The granting of industry status to the film industry will eventually allow overboard financing of films, though this will result in production of fewer films than at present. Stricter enforcement of copyright law will help the film industry in its fight with cable operators. Foreign entertainment companies, with steady revenue streams, can do good business if they invest in Hindi and other Indian language films. Despite high risks on a permovie basis, the risk spreads out across a number of movies.

Stages of Film Making

Film is a term that encompasses motion pictures as individual projects, as well as the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist - motion pictures, the silver screen, photoplays, the cinema,

picture shows, flicks - and commonly movies. Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision - whereby the eye retains a visual image for a fraction of a second after the source has been removed. Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Hence, the filmmaking production cycle consists of five main stages: 1. 2. 3. 4. 5. Development Preproduction Production Post-production Distribution

An entire production cycle typically has three parts. The first part consists of development. The second part comprises preproduction and production. The third part, consists of postproduction and distribution.

Editing of Films
"The director prepares the menu, brings the ingredients, and knows what he wants the final dishes to look and taste like, the editor is the cook... ." Hrishikesh Mukherjee Film Editing is a distinct art form, which contours the film. It is an art of story telling. Editing of Hindi Films is a long practiced art of conveying the story of the film by connecting shots together to form a film. Editing process includes the act of connecting two or more shots together to form a sequence, and subsequently the sequences are connected to form a complete movie. Editing is often referred to as the "invisible art". Film editing in India is an art that is often used in diverse ways. Proper editing of films can create sensually stimulating medleys. The editing laboratory is considered to be the operation theatre of experimental cinema in India. Editing however is the combined act of art by both the editor and director. The understanding between the both persons can create a perfect end product. The editor creates the mosaic of a film which is finally contoured by the creativity of the director.. Bimal Roy, Shyam Benegal, Satyajit Ray, Govind Nihalani, Gulzar are some people who have planned and thought out their films carefully to make their editor`s work much simplified. When the director shoots everything relevant to the theme of the film, the editor has these huge quantities of material to filter through. In these cases, the editor partially does the work of the scriptwriter. He develops one particular theme after viewing the entire material, puts it down on a paper and

develops the chronology and drama eventually. Finally, the film is the complete co ordination of the work of the writer-director-editor. The process of editing ensures smoothness of narration and continuity in a film and is considered as an ongoing process which offers that extra zing to the art form.

Production Houses in India

The following are the film production companies in India

Adlabs - Motion picture processing laboratory in Mumbai Arjoe Entertainment - Bengali movie production house BR Films - Film & TV Serial production house owned by BR Chopra Balaji Telefilms - Telefilms producer Channel Eight - Production of TV programs & soap operas Cine Care - Manufacturer of mosfet amplifiers Cinedreams - Film and TV career promotion agency Deep Emotions - Music publisher Earthcare Films - Environment, conservation and wildlife life films producer Film Republic - Film production company Films Division - Film production and distribution IIFA Awards - International Indian Film Academy Awards JS Films - Corporate and advertising films production KAS Movie Makers - Producers of feature films, commercials, documentaries & TV serials Kailash Pictures - Television commercials and documentaries production Kerala State Chalachitra Academy - Home page of International Film Festival of Kerala Locations Asia - Film production services Media Artists - Advertising, documentary and promotional films producer Mindscreen Film Institute, Chennai - Courses in cinematography, screenwriting and film making Mukta Arts - Film production company of Subhash Ghai Neptune Enterprises - Distributor of films Parwani Studios - Offers film shooting floors RDB Organization - Film production house Rajshri - Leading entertainment conglomerate with interests in films & music Rajtaru Videosonic - Developer of digital special-effects, animation & graphics Ramoji Film City - Film production facilities & services Real Image Media Technologies - Film production, editing, effects and composting Rosetta Stone Media - Producer of corporate films, documentaries etc Sanjay Goradia Production - Plays and theatre drama production SpotFilms - Television and documentary films producer Suresh Productions - Telugu film production company Vinod Chopra - Hindi film producer Vivek Agnihotri Creates - Films and music videos production house

World Wide Channel - Hindi films publicity and marketing Yashraj Films - Film production company of Yash Chopra Zabardast Films - Ad film production, location and casting services provider

NDFC Films
National Film Development Corporation of India is like an apex body , the central agency which has been established for the greater intention to encourage good cinema movement in India. Although the main goal of NFDC is to plan, promote and organize an integrated development of Indian film industry, yet the idea of fostering excellence in Indian cinema is also an important motto of the organization. Quite ideally, over the years NFDC has offered an array of services, indispensable to the growth of Indian cinema. The NFDC has funded and produced over 300 films. NFDC Films, in various Indian languages, have been widely acclaimed and have won many national and international awards. During a period of time, this body produced serious and offbeat films, which, as a rule focused on an accent on social injustice. This single theme was conveyed to the audience without the popular components of the mainstream films. The environment would be different, but the content and the conclusion of the story was the same. Over the time, these films also had their own group of "stars" who belonged to either the alumni of the Film and Television Institute of India (FTII) or the National School of Drama (NSD). Alike the stars in the mainstream films, they were frequently seen playing the same roles under different names. NFDC films followed a rule that submitting a detailed script was always compulsory. The script was passed on and recommended for financing by a script committee. These films were then known as serious, parallel, or literate films and were only circulated and shown in the film festivals in India and foreign countries. Some of these films also won honorable awards in the nation and abroad too. However, a majority of the Indian audience did not get an opportunity to see the best and outstanding films among the lot of NFDC films. This healthy cinema culture mostly remained beneath the heaps of the NFDC. The process of scriptwriting of these films was done mostly by the director of the film and had some storybook work as their base. A writer, who had little background of filmmaking but had literary skills, also was engaged for the final checkout. The director, as the technical expert and of course the maker, would participate in the writing process.

Central Board of Film Certification (CBFC)

Central Board of Film Certification (CBFC) is a regulatory body under the Ministry of Information and Broadcasting, Government of India. Central Board of Film Certification is popularly called as Censor Board. The Censor Board of India basically censors and reviews movies, television programmes, television advertisements or any sort of promotional materials. All films meant for public exhibition, irrespective of their length, whether in cinema halls or video or CD or DVD version are subjected to censorship. Censorship of movies is considered as necessary as a movie might motivate thought process of the audiences. A film reflects various ideas and the same has a strong impact on the minds of the viewers and can affect emotions. Thus, it is a true fact that a movie has enough potential for

good as it has for evil. It is also said to have an equal capability for encouraging good behaviour or violence. Thus, censorship is not only desirable but also necessary. Central Board of Film Certification has divided itself into `Examining and Revising Committees` to provide a two-tier system for certification of films in the event of the applicant or the Chairman himself not being satisfied with the decision of the Examining Committee. The certification rules of this board are also applicable to foreign films that are imported into India, or any dubbed films, and video films. However, in cases of dubbed films, the Censor Board does not have any fresh censorship for the visuals in general cases. Moreover, the films which are made specifically for Doordarshan, the certification of the Censor Board is not applicable, since Doordarshan has its own system of examining films. The Cinematograph Act, 1952, presides over the censorship of films. The Cinematograph (Certification) Rules were promulgated in the year 1983. The guidelines were issued on December 6, 1991 under Section 5B of the Cinematograph Act. According to this section, "a film shall not be certified for public exhibition, if, in the opinion of the authority competent to grant the certificate, the film or any part of it is against the interests of the sovereignty and integrity of India, the security of the States, friendly relations with foreign States, public order, decency or morality or involves defamation or contempt of court or is likely to incite the commission of any offence". Detailed Guidelines for Certification of Films are as follows Anti social activities such as violence are not glorified or justified; the modus operandi of criminals, other visuals or words likely to incite the commission of any offence are not depicted; scenes showing involvement of children in violence as victims or perpetrators or as forced witnesses to violence, or showing children as being subjected to any form of child abuse are not presented Showing abuse or ridicule of physically and mentally handicapped persons; and showing cruelty to, or abuse of animals, is not presented needlessly. pointless or avoidable scenes of violence, cruelty and horror, scenes of violence primarily intended to provide entertainment and such scenes as may have the effect of de-sensitising or de-humanising people are not shown; scenes which have the effect of justifying or glorifying drinking are not shown; scenes tending to encourage, justify or glamorise drug addiction are not shown; scenes tending to encourage, justify or glamorise consumption of tobacco or smoking are not shown; human sensibilities are not offended by vulgarity, obscenity or depravity; such dual meaning words as obviously cater to baser instincts are not allowed; scenes degrading or denigrating women in any manner are not presented; scenes involving sexual violence against women like attempt to rape, rape or any form of molestation or scenes of a similar nature are avoided, and if any such incidence is relevant to the theme, they shall be reduced to the minimum and no details are shown; scenes showing sexual perversions shall be avoided and if such matters are germane to the theme they shall be reduced to the minimum and no details are shown; visuals or words contemptuous of racial, religious or other groups are not presented;

visuals or words which promote communal, obscurantist, anti-scientific and antinational attitude are not presented; the sovereignty and integrity of India is not called in question; the security of the State is not jeopardized or endangered; friendly relations with foreign States are not strained; public order is not endangered and; Visuals or words involving defamation of an individual or a body of individuals, or contempt of court are not presented.

4ps- Product Price Placing Promotion

Price aside, the other three are all vital elements of a film marketing campaign. It is possible to add in publicity to a film marketing campaign although this is technically a part of promotion which is not the direct result of a financial deal made by the studio, although money may change hands... Product A film needs to be clearly identifiable in its marketing genre, stars, story, special effects, style all need to be presented to the audience so they can select the film on the basis of content A film has to have the right release date Christmas for a Christmas movie etc. Its release date will also depend on what else is being released at the same time films have to fight it out for cinema screens. It would be pointless releasing any big blockbuster movie the same weekend as MIB II simply because cinema goers would choose between it and the competition, thus halving the box office takings Promotion for films takes many forms: Promotion Print advertising (posters + ads in newspapers & magazines) Trailers (screened at cinemas + on TV/radio) Internet sites Merchandising the list is endless books, t-shirts, food, soundtrack CDs, computer games, toys, cars, mobile phones, anything that can be associated with the brand of the movie

Placing

The publicity department of a studio will expend a great deal of time and money trying to gain maximum benefit from the following forms of publicity: Publicity

Star Interviews in print and broadcast media 'Making Of' documentaries add to the hype Gala Premieres who's wearing what frock Reviews and profiles Empire front cover anyone? News stories - who did what on set and what records has this movie broken?

Problems Associated with Movie Marketing

The trickiest part of movie marketing is that every movie is different. Every film is its own standalone product with its own potential market segment. Just because your last kid's movie was a huge hit doesn't mean that audiences will come in droves to the next one. There's no formula for success, so marketers must be creative to grab the public's attention. Moviemaking is an inherently risky business. Movie marketers try to alleviate some of that risk by heavily promoting expensive films. Unfortunately, in the process, they make the films even more expensive by adding on a huge marketing budget. There's always a chance that the marketing campaign will stink just as bad as the movie, and suddenly the studio has thrown away twice the amount of money. For example, Oliver Stone's epic "Alexander" cost $155 million to make and $60 million to market domestically and only took in $167 million worldwide [sources: Box Office Mojo and Waxman]. The problem is that most big-budget movies are marketed to the widest audience possible. Ads are placed on every TV network and stuck in every newspaper and magazine. There's no focus. Chances are that with every blockbuster movie marketing campaign, millions of dollars are lost on people who would never see the movie, no matter how good it is. One solution is the idea of the nichebuster, a smaller movie marketed heavily to a highly specific audience segment, say skateboarding fans or religious groups [source: Schonfeld]. One of the proponents of this idea is 20th Century Fox, which recently launched a division called FoxFaith that will produce and market movies to a Christian, family-oriented audience. This is called demographic marketing rather than selling movies according to traditional genres like action, romantic comedy, thriller, et cetera [source: Movie Marketing Update]. A final problem is that moviegoers are more media savvy than ever. While children are highly susceptible to advertising, many adults recognize the publicity blitz for what it is: publicity. Some moviegoers are starting to complain about the sheer magnitude of hype that surrounds major studio releases. This is another reason why the Internet is proving to be a powerful marketing tool. If studios play their cards right, they can capitalize on social networks, viral video sites and other online communities to sell their movies for them. The Net Generation moviegoer is much more likely to trust his chat buddy's opinion than some talking head on Entertainment Television.

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

Techniques
In theaters

Trailers are a mainstay of film promotion, because they are delivered directly to movie-goers. They screen in theatres before movie showings. Generally they tell the

story of the movie in a highly condensed fashion compressing maximum appeal into two and half minutes.

Film posters Slideshows - stills, trivia, and trivia games from the film, shown between movie showtimes. Standups (freestanding paperboard life-size images of figures from the film) Cardboard 3D displays, sometimes producing sound[1] Hollywood movie distributors spend about $4 billion a year to buy paid advertising (30-second TV commercials, newspaper ads, etc.) and over half that total is placed on broadcast and cable TV, which are the main vehicles for advertising movies to audiences. TV is effective because it is an audio-visual medium like film and can deliver a vast audience quickly, which is crucial because films typically dont linger in theaters more than 46 weeks, according to Marketing to Moviegoers: Second Edition. Product placement: paid active or passive insertion (as on-set posters, and action figures) of film brand in drama or sitcom shows, or as passing mentions in dialogue. For example, 20th Century Fox commissioned an I, Robot-themed motorcycle, featured on two episodes (2:17, 2:18) of American Chopper.[2] The film Memoirs of a Geisha was placed throughout an episode of the T.V. show Medium.[3] Extended placement: full episodes of television talkshows (Oprah), entertainment news programs (ET), or network news programs (20/20), devoted to compensated exposure of the film, stars, clips, director, etc.

Television and radio

In addition, interviews with actors and directors which are filmed en masse at a hotel with local and national entertainment reporters which are featured on local news shows, programs on cable networks, and series such as Byron Allen's series of entertainment series like Entertainment Studios.

Production and paid broadcast of behind-the-scenes documentary-style shows, the type of which are mainly produced for HBO, Showtime and Starz. Advance trailers, longer previews, or behind-the-scenes footage on rental videos and DVDs. Creation of standalone studio-sponsored per-film websites such as "example-themovie.com". Viral marketing: free distribution of trailers on movie-oriented websites and video user-generated-content websites, and rapid dissemination of links to this content by email and blogs. Includes alleged leakage of supposed "rushes" and "early trailers" of film scenes.[citation needed]

Internet

Print

Paid advertisement in newspapers, magazines, and inserts in books. Cross-promotion of original book or novelization, including special printings, or new cover jackets ("Now a major motion picture.") Comic special editions or special episodes Paid co-branding (Eragon in American Chopper-two episodes), or co-advertising (BMW and James Bond films[4]) of a product with the film. Promotional giveaways: branded drink cups, toys, or food combinations, at fast food chains. Film actors, directors, and producers appear for television, radio, and print media interviews, sometimes showing a clip from the film or an outtake. Interviews are conducted in person or remotely. During film production, these can take place on set. After film release, key personnel make appearances in major market cities, or participate remotely via "satellite" or telephone.

Merchandising

Promotional tour

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

The film makers have adopted newer techniques from time to time to promote their film. One of the very common forms of marketing is the in-film branding. Mutual in nature, in-

film marketing not only helps the product get a mention and visibility in a film to an audience but it also benefits the film to a large extent. Apart from monetary benefit to the production of the film from the brand owners, the commercial ads of these products promote the film throughout. The best example of this promotional technique is the film Ghajini. Its tie-up with Van Huesen became a huge success and strengthened the promotion of the film. Apart from that, one could find its presence across all mediums, be it TV, print, outdoor, Internet, mall activation or cinema activation. Moreover, to become the primary choice of the audience on the weekend, the film-makers are trying out more scientific and innovative techniques like the interaction based strategies. The promotion of 3 Idiots by Aamir Khans unique tour across the seven cities of India was an outstanding idea to connect with the people and create curiosity about the film. And with this trend, now even the film stars have become very conscious about marketing. They are now actively involved. There is so much the marketers do when the star gets involved like specials, radio contest, integration and online chat. However one of the major mediums of marketing these days; the digital medium is not being utilized to the best for film promotions in India. There are very few producers and studios which understand the medium well. Moreover, even though the focus is on the consumers now, B2B marketing will never take a backseat. The big banner production houses are still focused on the distributors. Online is more for the consumers and not for the distributors. So, when it comes to them, online takes a backseat.

Drawbacks
Movie Campaigns lose influence closer to release date According to this story, the campaign for a new-release movie loses its effectiveness on the intended audience anywhere from three to four weeks prior to opening date. That runs counter to the established mind-set at most movie studios, who flood the media with ads for movies in the last week before it hits screens. The study measured online ads for movies and how many people were aware of the film who had seen the ads versus those who had not seen the ads. At 28 days prior to opening the number of people aware of the movie was 22.5% higher than those that had not seen the ads. By one week before opening only 5.4% more were aware of the movie who had seen the ads over those that had not. That likely means the media coverage of movies was making up a good amount of the difference. So does that mean marketers should stop advertising three weeks before the release date? No, but they need to adjust the spending schedule for their movies. If its not going to make that much of a difference to spend a ton on paid ads in the last week then dont, or put that money to better use elsewhere. If spending were charted on a graph of the last two months leading up to the release then I could see a bell-shaped curve being a useful roadmap, with spending ramping up to the one-month out point and then tapering off after that as returns begin to diminish.

Making Money with Films

Making money with movies is one of the most glamorous and profitable jobs that we can have. Once we have made the movie there are many ways to make money and we can do this in many countries. A movie will have multiple income streams such as, Theatrical performance, DVD sales, video rental, pay per view and VOD (Video on Demand.) It will take a couple years to collect the money from the different avenues. Do not get bummed out by this, it is not uncommon for a popular movie to gross almost a Billion dollars in theatrical performance alone. That does not include the rest of the revenue streams The following are the ways in which one can make money with films.
1. Now that we have completed the film, we will need to get a big movie studio to pay

2.

3.

4.

5.

for the "Print and Advertising" budget. Remember: It is not called a movie until we can charge ten dollars per ticket, and we cant do that until we get it in the theaters. It will cost more to advertise the movie than it did to film it. Assuming that we have the money to advertise it by ourself it should be put in the theaters first. Movies are in the theaters for less time than ever in this day in age, but Americans are spending more time and money on movies even in a troubled economy. The film will need to be in the theater until it is not selling movie tickets. When we are ready to pull it out of the theater, make sure that we have all of the DVD's printed and ready. This is the next step in making money. This is where we will have the ability to cash in on another 6 month window. Put all of the DVD's on the shelves of all music, movie, and video stores. Also we will need to find a foreign agent that will get the merchandise overseas. Over the last few years it has been neck and neck when it comes to which market makes the most money. When the DVD sales start to slow, make sure that we have aligned a deal with the major cable tv executives. This window can pay as much as twenty million dollars for exclusive rights. The exclusivity period is usually around 6 months. HBO has been known to pay that kind of money for the right show or movie. We can have someone make toys and other merchandise of the characters. This is another very common way that people make money. Especially with the G rated movies. Merchandise royalties last forever. As long as people like the theme or the characters we will make money from it. Merchandise can be the most profitable income stream. We will need to be careful of which movie theaters that we put the movie in. Most privately owned theaters are in bankruptcy court and do not pay the production studio on time. In some cases they refuse to pay the company until they have a new movie to release. The theatres cut is around 50% of the total gross. After we go through this cycle, the next best way to make money in movies is to start a trilogy. As long as people like the first one, they will at least give the others a fair chance.

Growth of Indian Film Industry

Regional Industries
Break-up of 2009 Indian feature films produced in 24 Languages. Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 13 15 16 17 \17 17 17 17 17 17 17 Language Hindi Telugu Tamil Kannada Marathi Malayalam Bengali Bhojpuri Gujarati Oriya Punjabi English Assamese Rajasthani Konkani Santali Haryanvi Kodava Maithili Nagpuri Nepali Rajbanshi Sambalpuri Mishing No. of films 235 218 190 177 99 94 84 64 62 17 15 9 5 5 4 2 1 1 1 1 1 1 1 1

Total

1288

History Motion pictures came to India in 1896, when the Lumire Brothers' Chinematographe unveiled six soundless short films in Bombay (now Mumbai). This was just one year after the Lumire brothers India's first feature film named "King Harishchandra" was released in 1913. It was made by Dhundiraj Govind Phalke (nickname: Dadasaheb Phalke, 1817-1944). This was a silent movie. By 1920, film making had taken the shape of an industry. Ardeshir Irani released Alam Ara, the first Indian talking film, on 14 March 1931 India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the 'Golden Age' of Indian).

INDIAN FILM INDUSTRY

Indian Film industry is valued at USD 1.8 billion which is expected to double by 2010 Contributes ~20% share of the entertainment industry Largest film industry in the world in terms of number of movies produced

Digitization of movies and increase in the number of screens has enhanced the movie going Media and entertainment industry is valued at USD 7.8 billion and is expected to grow at 19% By 2010, the entertainment industry is expected to reach USD 18.6 billion

Current scenario Indian Film Industry is one of the worlds largest with more than 1000 movie releases and over 3 million movie goers annually. In 2009, India produced a total of 2961 films on celluloid, which includes a staggering figure of 1288 feature films.

Government initiatives have given a boost to the Film industry Industry status granted in 2001 100% FDI allowed via automatic route Industry Financing Prior to receiving industry status Difficult to acquire finance Finances generally came from unorganized sector, which involved high costs

Directors pre-sold the movie rights at mhoorat stage, at a huge discounts

Post receiving industry status Companies can go to public to raise money Eros International admitted to AIM in November 2006

Banks have started financing

Future The Indian film and television industry is expected to reach a size of over Rs 60,000 crore in the next five years, says a report. The industry is projected to grow at a CAGR of 9 per cent and reach US$ 3 billion by 2014. The granting of industry status to the film industry will eventually allow overboard financing of films, though this will result in production of fewer films than at present Stricter enforcement of copyright law will help the film industry in its fight with cable operators. Some film production companies, such as Mukta Arts, have made public share issues, thus keeping out of the world of murky financing