Escolar Documentos
Profissional Documentos
Cultura Documentos
AMIT KUMAR
DPGD/JL10/0627
SPECIALIZATION: E-BUSINESS
ACKNOWLEDGEMENT
It is well-established fact that behind every achievement lays an unfathomable sea of gratitude to
those who have extended their support and without whom the project would ever have come into
existence.
I wish to express my deep sense of gratitude to Prin. L. N. Welingkar Institute of
Management Development & Research, Mumbai for providing me an opportunity to work on
this thesis as a part of the curriculum.
I am highly indebted to my family for giving me strength and support which was essential to
complete this project.
AMIT KUMAR
CONTENT
1.
EXECUTIVE SUMMARY5
2.
INTRODUCTION ............................................................................................. 7
3.
4.
5.
6.
7.
LIMITATIONS..71
8.
BIBLIOGRAPHY.........73
9.
APPENDIX74
SIGNATURE OF GUIDE:
NAME:
DESIGNATION:
ADDRESS:
STAMP/SEAL OF THE ORGANIZATION
DATE:
PLACE:
EXECUTIVE SUMMARY
The Indian Hindi film industry a.k.a. Bollywood is worlds largest film producer. It produces
close to 1000 movies a year, for that approximately 14 million viewers swarm the theaters each
day and it sold more than four billion cinema tickets every year. With the growing competition
on domestic as well international market Bollywood has started to spend a fortune towards
movie marketing in order to drive the business. Around 30 percent of production cost is assigned
for the marketing in which approximately 20-30 percent is allocated for e-marketing.
The reason to choose this topic for research project was based on the utmost desire to understand
the confluence of latest technology and one of the oldest and most loved forms of entertainment.
The driving force was the simple question i.e.
How e-marketing is affecting the revenue and success of contemporary Bollywood movies.
As a student of E-Business, the idea of effectively presenting the unique selling point (USP) of a
film to the online audience and the dynamics that influence the same interests me. This is the
reason why I have chosen E-Marketing of Bollywood Movies as the topic for my project.
The methodology employed for researching on this subject comprised of literature review of
following reports;
FICCI-KPMG Indian Media and Entertainment Industry Report 2012,
12th Five Year Plan (2012-2017): Report of the working group on Information and
Broadcasting Sector
Digital Advertising in India, 2012, IAMAI Report
These reports were studied and reviewed thoroughly. This literature review formed the basis of
the dissertation. Further due to unavailability of adequate data related to the marketing expenses
of Bollywood movies with respect to the spends on conventional and unconventional media, I
resorted to a case study approach wherein I studied the marketing campaigns of those movies
whose net collection in domestic market was more than INR 100 Crore.
The case study approach helped me understand the fine line which divides the conventional
media/methods from the unconventional ones.
Source: http://en.wikipedia.org/wiki/List_of_highest-grossing_Bollywood_films
INTRODUCTION
Overview of Indian Media and Entertainment Industry
India is the world's largest producer of films by volume - producing almost a thousand films
annually. Indian filmed entertainment industry consists of movies produced in various genres
and languages and produces the largest number of films in the world. Indian films, especially the
mainstream Hindi film industry (or Bollywood) dominate segments like music and live
entertainment as well as television, where popular films and film based programs attract the
highest viewership. With several high budget Hindi releases lined up across the year, 2012 is
expected to sustain the growth momentum witnessed in 2011. The Indian film industry is
projected to grow at a CAGR of 10.1 percent to touch INR 150 Billion in 2016. The industry is
estimated to be INR 93 billion in 2011 indicating a growth of 11.5 percent vis--vis 2010. One of
the major policy initiatives has been the Government of India granting "industry" status to the
entertainment sector in India including the film sector in 2001. This allows the sector to access
institutional finance and clean credit for new projects. Digitization of theatres, higher average
ticket prices and the growth of multiplexes are the primary drivers fuelling growth in the
industry.
Media and Entertainment Industry of India:
Rajesh Jain, head of media & entertainment, KPMG India said, The untapped potential for
growth in media reach, impact of digitization and convergence, better consumer understanding,
sustained efforts in innovation, and enhanced penetration of regional markets, all promise well
for the industry.
PWC released, Indian Media & Entertainment Outlook Report, 2009 predicts a double digit
growth rate for Media & Entertainment sector in coming years.
It states that the print medium still dominates in terms of the size and share percentage. Total
print sizes Rs. 111.5 Billion with a market share of 47.3%. Television comes in close
second with 38.6% market share and total size of 91.0 Billion. But interesting trend is the fast
growth of Online and Radio industry, though OOH s till needs to pick up pace. Online
medium is at a very nascent stage in India in terms of Advertising and it provides a
huge potential. What we need though is a different kind of ad selling model as Google ads
doesnt seem to work the same way in India as in the US.
The report also presented some very interesting Stats about Indian M&E sector Over 1,000 movies released annually (largest in the world)
3.2 billion movie tickets sold annually (largest in the world)
80 million pay-TV homes (third largest in the world)
119 million television households
450 television channels
Over 300 million mobile subscribers (second largest in the world)
Over 350 radio stations
6,000 newspapers published, including the worlds largest circulated daily.
BOLLYWOOD
Bollywood is the informal term popularly used for the Hindi-language film industry based in
Mumbai, India. It is the largest film producer in India and one of the largest centers of film
production in the world, producing almost 1000 Hindi films per year that are viewed by roughly
14 million people per day. Standard features of Bollywood films continued to be formulaic story
lines, expertly choreographed fight scenes, spectacular song-and-dance routines, emotioncharged melodrama, and larger-than-life heroes. However in recent time new breed of film
makers like Diwakar Banarjee, Anurag Kashyap, Imtiyaz Ali, Farhan Akhtar, Zoya Akhtar etc
contribute a lot to Bollywood in terms of innovation and new story ideas.
The Indian film industry has now reached a stage where it is catering national as well global
audiences. Hindi films made in Bollywood, are released throughout in India on both single and
multi screen theatres, and several of them screened overseas as well. Though there have been
infrequent instances of regional films, enjoying a national release or even an overseas release,
virtually all films having a national audience, are made in Bollywood.
The entertainment industry in India has outperformed the economy and is one of the fastest
growing sectors in India. Since 1931 when talkies were there in the country, the film industry has
produced more than 67000 films in more than 30 different languages and dialects. Bollywood
took a leap forward in 2001 when the government gave it industry status, meaning banks were
allowed to lend to it. It became a great sector for foreign investment by corporatized
entertainment companies. IN 1958 the film Mother India was nominated for an Oscar, and its
director, Mehboob Khan, wanted to go to Los Angeles for the awards. India was short of foreign
currency, and according to a book about Bollywood by Mihir Bose, Mr Khan had to beg the
government for money for the trip, writing, I should be able to show that our government is also
backing me. Otherwise, I will look small and lonely. From there things have changed
dramatically. Now Hollywood is courting Indian film producers: Disney, Viacom, News
Corporation and Sony Pictures have all done deals with Bollywood companies in the past few
years.
One of the biggest and the most high-profile deal in Indian entertainment industry; Anil Ambani
promoted Reliance Big Entertainment has sealed the funding of its 50:50 joint venture with
Hollywood's iconic director Steven Spielberg's DreamWorks. As per the deal DreamWorks
Studios will get an initial funding of $825 million, which includes equity from Reliance ADAG
to make films for a global audience. Of the $825 million, $325 million will be equity infused by
Anil Ambani as his personal investment, $150 million will come from The Walt Disney
Company as a distribution advance, and the rest will be funded by JP Morgan via debt.
DreamWorks has not had the money to produce new films since it parted ways with Viacom's
Paramount Pictures in September 2008. The new motion picture company formed between
Reliance BIG Entertainment and DreamWorks has been functioning since November 2008 from
DreamWorks' long-time offices in Los Angeles, California.
In another such instances Disney has increased its stake in UTV Software, the parent of an
ambitious young film studio in Mumbai, from 14.9% to as much as 30%. UTV Motion pictures
spends an average amount of $12m on each film they produced. They have co-produced two
movies with News Corporation's Fox Filmed Entertainment, and in the year 2008 the two studios
had released The Happening, a thriller directed by M. Night Shyamalan that cost them about
$28m each. UTV also has a co-production deal with Will Smith, a Hollywood actor. Plenty to
sing and dance about, in shortif not on the screen, then behind the scenes is going on in the
Bollywood.
10
Besides there are a wide range of pricing structures such as theatrical tickets, group 4-wall
rentals, title rentals, title sales, special releases, subscription services, festivals, DVD writes,
downloads, delayed broadcasts, pay-per-view, licenses, bundled deals, cable channels and now
we have movies and games on cell phones, on iPods, on electronic billboards etc.
PROMOTION
Promotion for films takes many forms:
Print advertising (posters and ads in newspapers & magazines)
Trailers (screened at cinemas and on Television/radio)
Internet sites (including Facebook 'fan' pages)
Viral Videos
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
PLACE
The marketing Place simply defines that, where and how the prospects find the movie
Product. With the advent of new technology the Place is not limited to theatre or traditional
television broadcast. Now it is accessible easily through variety of modes like pay per view
through direct-to-home (DTH) broadcast, over the internet, through social networking sites, cell
phones and other hand held devices, co-branding and merchandising, music CDs and DVDs and
there are many more innovative ways that are coming on the way.
The digital renaissance has opened a plethora of platform, strategies and formats than ever. Now
we have RSS feeds, Blogs, dedicated websites, game sites, mobile apps etc to receive the movie
Product as and when required.
13
Film marketing is evolving into a growing industry in India. Over the years we have seen a
seamless integration of marketing ideas selling the film and being responsible for its success
rather than the content itself. Gone are the days when the films director and banner was good
enough to draw the audiences. The multiplex crowd of today wants novelty and more than just
storyline and star-cast to watch a movie. The hype and hoopla created by the film marketers goes
down along way in predicting the films success. More and more film makers are adopting out-of14
box strategies to cut through the clutter in the highly competitive business. It is very important to
communicate the USP of a movie to the viewers in most interesting way.
Earlier the parameter of success was the number of days a movie runs on a theatre. Those were
the era of Silver Jubilee, Golden Jubilee, Diamond Jubilee, but now its all the matter of first
week. Today films are released with as high as 3000 prints worldwide and the collection of
weekend decides the fate of movie. Under these circumstances, marketing is the key to ensure a
big opening and to draw audience to the theatres.
According to Digital Dawn: The metamorphosis begins, a report on Indian Media and
Entertainment (M&E) Industry 2012, prepared by FICCI-KPMG, The film industry has reason
to cheer with multiple movies crossing the 100 Crore mark in domestic theatrical collections and
30 Crore mark in Channel and Satellite (C&S) rights. Also there are 132 million internet users in
India that ensures the digital distribution of content as well an effective marketing platform for
advertisers.
Source: Digital Dawn: The metamorphosis begins, Indian Media and Entertainment (M&E) Industry Report 2012, by FICCI-KPMG
15
The Indian M&E industry grew from INR 652 billion in 2010 to INR 728 billion in 2011,
registering an overall growth of 12 percent. Backed by strong consumption in Tier 2 and 3 cities,
continued growth of regional media and fast increasing new media businesses, the industry is
estimated to achieve a growth of 13 percent in 2012 to touch INR 823 billion. Going forward, the
sector is projected to grow at a healthy CAGR of 14.9 percent to reach INR 1,457 billion by
2016.
Source: Digital Dawn: The metamorphosis begins, Indian Media and Entertainment (M&E) Industry Report 2012, by FICCI-KPMG
Advertising spends across all media accounted for INR 300 billion in 2011, contributing to 41
percent of the overall M&E industry revenues. Advertising revenues witnessed a growth of 13
percent in 2011 as against 17 percent observed in 2010. Print is the largest contributor
accounting for INR 139 billion and 46 percent of the advertising pie. It is expected to continue
being the most dominant medium for next 5 years, despite the threat from new digital platforms.
Advertising spends are expected to grow at a CAGR of 14 percent to reach INR 586 billion in
2016. The media industry is an ad dependent business and will continue to be so for some time,
largely due to the relatively low ARPUs on account of hyper competition and lower price
elasticity of consumers.
16
There has been increased proliferation and consumption of digital media content be it
newspapers and magazines, digital film prints, and online video and music or entirely new
categories such as social media.
17
Publicity of movies
Without publicity what could happen to a movie, can be understand by this interview that was
published on Delhi Times on 12th June, 2012. Times Of India journalist, Anshul Chaturvedi
interviewed actor Manoj Bajpayee and here are the first two questions to understand the
scenario:
The four-times-rejected-for-NSD Manoj Bajpayee speaks on the cinematic art of acquired leaching, his willingness
to call up directors to ask for work, and how hes seen good movies fail for lack of publicity, so hes not shying
away from it any longer.
DT - You were never the one to be seen at movie promotions. Isnt the current campaign
unfamiliar territory tiring you?
Manoj Bajpayee - Things have changed a lot; the fact that everything is temporary was perhaps
never as true as it is now. Meri kuch filmon ka jo hashr hua woh mujhe yaad hai, when I faced
situations where the producer could not ensure much visibility for my movies, sometimes from
lack of funds, or from other reasons.
DT - Such as?
Manoj Bajpayee - 1971 is the prime example! It is one of the best films of my career. Uss film
mein har cheez thi. It was the first real film on the Army in a very long time. But due to a lack of
resources, or attention, or visibility, woh kab aayi kab gayi theatres mein, pata hi nahi chala. Yeh
aalam thaa ki jin theatres mein film lagi thi, un ke baahar tak film ke posters nahi lage! Aur usi
film ko National Award mila for the best film of the year!
So I dont know whether the promotions work or not yeh fact hai ya myth but I am not going
to find out. Sometimes, publicity can be a brain dead thing, but I say, let it be, if it is working for
a film, I am available, because I have suffered the cost of no publicity not in one film, but in
two, three films very dear to me! If its fruitful conversation, I am very happy but even when it
is not, I tell people, no, I dont mind it (laughs)!
Publicity of Movie
At producer level
At distributor level
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At producer level the publicity is done at a large scale with a national or international audience in
mind. The budgets are usually high and the media used are film teaser on TV channels and
cinema halls, radio, digital medium that includes Internet and mobile platforms, national
magazines etc. The star cast of the movie is also associated with publicity at this level. They
participate in chat shows, interview, and reality shows on national television and make
appearances at public places like shopping malls etc. This kind of publicity primarily aimed to
create a buzz about the movie. The "making of" a saga which is couple of hours long shown on
the TV gives an insight into what went into the production of the movie. It helps generate interest
in the movie by giving away parts of the story and some scenes, making the viewers curious to
know about more.
At distributor level the publicity is mainly for making the target audience aware about the
theatres where the movie is playing and the timings of the movies. Also, this publicity tries to
reach the audience who may not have access to cable TV or radio. The scope of this publicity is
limited to the distributors territory. The budgets allocated for such publicity is less. The media
used at this level are posters, hoardings, local newspapers or SMSs sent to the registered and
frequent visitors etc.
Since very beginning songs are the essential part of the Bollywood films and used to generate
interest in the movie. The recent years have seen use of a special category of songs called "item
songs", which are included in the movie as a hot property to pull the crowd to theatres. Now a
day, these item songs are aired on TV frequently to publicize the movie. Interestingly in most of
the cases these songs have no direct relation with the movie's storyline.
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mobile users exercise radio accessibility. And, this mobility of the radio has increased the usage
of the medium.
Tie-ups with radio channels for film marketing are becoming increasingly common. Common
promotional activities include on-air contests, interviews with film stars and music composers,
shelling out complementary movie tickets, an option to meet the stars in person, music and
movie premiere coverage, etc.
Mobile phones
Bollywood is harnessing the latest technology to reach their audiences. India is the world's
fastest-growing cellular market and has the second largest consumer base after China. According
to the Telecom Regulatory Authority of India, there were 752.2 million mobile phone
subscribers as of December 31, 2010. The research company Gartner Inc. last year predicted that
82 percent of India's 1.2 billion populations would have a mobile phone by 2014. Bollywood
have used mobile phones before to promote films, but this has mainly been restricted to music
and ringtone downloads or simple text message alerts. In the first move of its kind, Film studio
Excel Entertainment has tied up with one of India's leading mobile phone companies, Aircel, to
push two three-minute trailers of film "Zindagi Milegi Na Dobara" for free to its 55 million
subscribers.
For mobile movie marketing there is a large scope of innovative services. Consumers want SMS
short reviews as well as schedule of theatres on the mobile. There is also scope for television
channels to send out SMS alerts half an hour before a movie is going to be aired. A substantial
segment of the population is favourable to games related to films. More importantly, a large
population prefers to read a films review before seeing it. So television movie channels and film
distributors need to place reviews in WAP portals that are frequently accessed. Contests and
dynamic updates available on cellular networks generate repeat look ups. This way, a buzz about
the theme of the movie marketed is ensured.
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Internet Marketing
Bollywood has started increasing its spending on digital marketing. Typically, total marketing
budgets of a Bollywood movie comprise 30-40 percent of entire production cost of which 20-30
percent is spent on digital marketing. Around 81 per cent of the online Indian population,
according to a report by Hungama Digital Media, engages in some kind of social interactivity on
the web, making it an ideal place for the film marketers to draw young crowds. Jyoti Deshpande,
Chief Operating Officer and Commercial Director, Eros International, says: "Internet viral
marketing is less about how much you spend and more about how effectively you spend." Today
its almost a norm to launch the website as well Facebook fan page of a movie simultaneously.
Promoting movies through social networking sites such as Facebook, Orkut, blogs like blogger
and micro-blogging sites like twitter etc. helps to build a reputation, create real time
conversations, connect and at the same time engage the target audiences in the online world.
Teasers and Promos
Teasers are meant to tease. A teaser is a short duration promo of a film that creates curiosity
among viewers before the release. It is one of the oldest forms of movie promotion. Besides
theatres, teasers also aired on TV.
Co-branding
Co-branding is the use of one or more trademarks from two or more companies for the
marketing of specific goods, services or events". Co-Branding of movies is a recent practice in
Bollywood.
In-film advertising
It helps a brand to be present in the content itself and hence becomes inseparable from the
storyline. Such integration of the brand within the script of a film helps in delivering the brand
message in an entertaining and engaging way.
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Merchandising
Film producers and distributors rarely manufacture film-related products themselves, but license
the right to sell these products to other companies, who manufacture related merchandise and
share the advance payment as well royalty of gross revenue with producers and distributors. For
instance, actor Dino Morea's film and celebrity merchandise website, www.coolmaal.net had an
entire collection of tees, watches and shades, the Chulbul Pandey line during the release of
Dabangg. The website also tied up with a multiplex chain so that the merchandise could be an
extension of the viewers' movie going experience.
Music
Music in Bollywood cinema has always been one of the major entertainment sources, so much so
that Indian movies are recognized because of their music. Its reach is universal and hence
promoting top chart busters through music videos, teasers etc. becomes instant hit to a wider
section of the target audience.
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LITERATURE REVIEW
According to Report of the Working Group on Information and Broadcasting Sector by
Government of India, Ministry of Information and Broadcasting, which is part of 12th Five Year
Plan (2012-2017), it has been decided to simplify the procedure for clearance for setting up of
film theatres as well ensuring that a single window clearance system exists for film shooting in
India, for both domestic and international film production houses.
Keeping in view the fact that India produces more than 1000 films annually, the Government is
also planning to promote India as a film destination in film market and film festivals.
If we see Indian film industry particularly Bollywood in the context of the overall Media and
Entertainment (M & E) sector of the Indian economy, its role and importance has to be gauged
not by the size of the industry, but also the fact that film entertainment in India is a key driver for
content on television, music, radio, animation & VFX, and advertising. The popularity of
Bollywood films and its contents including music plays an important role to the size and growth
of other segments of the M&E Sector. The trend of co-branding and merchandising of
Bollywood films led to growth in other sectors too.
According to the report mentioned above There is no measurable database in India to estimate
the actual size, annual production investments, accurate box office returns, etc. relating to film
industry in India. This makes the task of facilitating the growth of the Indian film industry more
challenging and there is an urgent need to put in place appropriate mechanisms that ensure
maintenance of certain quantifiable parameters of performance of the film sector, as also a data
bank of industry professionals across various streams of filmmaking. At present data available on
film personnel is confined to industry personnel who are members of various film industry
associations such as Film Federation of India, Film Producers Guild, Indian Motion Pictures
Association, South Indian Film Chamber of Commerce, East India Motion Pictures Association
and many more. None of these organizations can claim to represent the interests of the entire
Indian film sector and as such cannot provide accurate figures for the film sector. The only
measurable data in India in the film sector is the number of films that are certified by the Central
board of film certification each year for public exhibition.
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Central Board of Film Certification (CBFC) is a statutory body under Ministry of Information
and Broadcasting, regulating the public exhibition of films under the provisions of the
Cinematograph Act 1952. Films can be publicly exhibited in India only after they have been
certified by the Central Board of Film Certification.
The Board consists of non-official members and a Chairman (all of whom are appointed by
Central Government) and functions with headquarters at Mumbai. It has nine Regional offices,
one each at Mumbai, Kolkata, Chennai, Bangalore, Thiruvananthapuram, Hyderabad, New
Delhi, Cuttack and Guwahati. The Regional Offices are assisted in the examination of films by
Advisory Panels. The members of the panels are nominated by Central Government by drawing
people from different walks of life for a period of 2 years. The Certification process is in
accordance with The Cinematograph Act (1952), The Cinematograph (certification) Rules
(1983), and the guidelines issued by the Central government u/s 5 (B). At present films are
certified under 4 categories
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2011 was a remarkable year for Bollywood. Bodyguard, Singham, Ready, Ra.One and
Don 2 breached the INR 100 Crore mark in domestic theatrical collections. This is what we
may call a new elite club of high revenue generating Hindi cinema.
The 100-crore club implies that the net collection (not gross collection) of a movie is INR 100
Crore. To understand the term clearly, gross collection of a film is the sum total of the money
which is collected at all the ticket counters of cinemas across the country screening that film.
Net collection is what remains with the producers after paying the entertainment taxes.
The norm of hits and flops in the film industry has always gone by the cost-versus-revenue
analysis to determine success. A number of avenues of revenue now exist for a producer in
addition to a theatre screening. Opening up new overseas territories was a winning strategy for
the film industry in 2011. New pockets were developed in Eastern Asia (China, Taiwan, and
South Korea), Western Europe, Australia and Latin America. The 2009 blockbuster Three
Idiots followed last years My Name is Khan to the South Korean market.
It is a generally accepted principle in the film trade that income from most of the other sources
like satellite television, home video, etc depends largely on the earnings from the theatrical
business of a film. Although there is no time frame, films normally touch the 100-crore figure in
two to four weeks. Today, the business of films has become touch-and-go. Most hits have a run
of only four to six weeks. The latest entry which is not mentioned here in the images is Akshay
Kumar's Rowdy Rathore. It is the latest film to write a success story at BO and cross Rs. 100
25
Crore net mark at the end of second weekend. The film has been doing well at single screens as
well as multiplexes.
The 100-crore club does not take into account the cost of a film as it goes solely by revenue. It is
for this reason that Shah Rukh Khan, with Ra.One (total cost Rs. 150 Crore approx) and Don 2
(total cost Rs. 80-85 Crore approx), is as entitled to club membership as Aamir Khan, with a
blockbuster like 3 Idiots (total cost Rs. 55 Crore approx) and Salman Khan, with a super hit like
Bodyguard (total cost Rs. 75-80 Crore approx).
Source: www.hindustantimes.com/Brunch/Brunch-Stories/Bollywood-s-100-crore-club/Article1-864033.aspx
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Source: Digital Dawn: The metamorphosis begins, Indian Media and Entertainment (M&E) Industry Report 2012, by FICCI-KPMG
27
The 100 Crore club of Bollywood was the term coined by the super success of Aamir khan
starrer movie Ghajini. It was a remake of 2005 Tamil psychological thriller film directed by A.
R. Murugadoss. The movie had released within the country with 1400 prints. Reliance Big
Pictures had released 213 prints overseas to earn maximum revenue in initial weeks of curiosity.
On December 25, 2008, the much-awaited Hindi film, 'Ghajini' (a revenge drama) was released
and it went on to become an instant hit. It opened to packed houses and grossed Rs. 32 Crore in
one day worldwide. Its first week collections amounted to Rs. 100 Crore in India. According to
trade observers, it had broken all records set by earlier Bollywood films.
The success of the film was widely attributed to aggressive promotional strategies adopted by the
film maker in conjunction with the lead actor of the film, Aamir Khan, who played a vital role in
the promotion of the film. The promotional strategies included viral marketing, ambush
marketing, television advertising, multiplex promotion, tie-ups with several well-known brands,
and merchandising. In addition to this, a 3D PC game based on the film was also launched.
The distribution strategy was also unique. Experts felt that the makers of Ghajini had raised the
bar for film promotion in India. They felt that the rules of film promotion have changed as film
makers were becoming more and more aggressive in their marketing strategies in their bid to
ensure that the movie was viewed by the maximum number of people.
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two
rather
three
websites
were
launched,
www.rememberghajini.com,
After getting involved the fans of Aamir Khan, a strategy was devised to involve the
Mass-Media for the promotion of film. In order to engage media persons and to add a
level
of
personal
touch
to
the
whole
affair
a
web
page,
http://www.rememberghajini.com/media/
was created where media people can upload their pictures to which Aamir can add notes
based on their previous interaction(s) with him. This repository will help him in
remembering those media people more vividly and those who register will in turn get
information kit on Ghajini along with Aamirs personal note about them. Ghajinis
marketing team also shared movie stills with their site so that they could be used for
promotion.
Unlike other film sites the sites for Ghajini had not focus much on the synopsis of the
film or the main plot; instead they focused on certain events of the film (finding the
killers etc) and leverages on them. In addition to this there were some hooks which were
meant to form certain associations and build mind maps. Extending the theme from film
after every 15 minutes the user gets redirected (forget everything) to the home page no
matter what page they were at. Remembering the date (Remember Dec 25) on which the
film will be released is another one, quite prominent and common through the sites.
A viral campaign for Ghajini; Worldwide premier of Gajodharbefore time was
launched through www.oktatabyebye.com (travel community of Makemytrip) and done
by Webchutney.
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The film shows a character Gajodhar who is out on a holiday and has a very different
rather weird way of noting down all his experiences. Whatever he experiences like room
achcha hai, food is good etc. he gets those tattooed on his body in a nearby tattoo
shop. At the end of his holiday, he comes back and copies all those experiences on
www.oktatabyebye.com.
The unprecedented success of Ghajini makes it a case study of how to create a buzz around a
movie with innovative and aggressive promotional strategy. It is said that 30 percent or 15 Crore
of the 50 Crore cost of the movie has been spent on promotion. The well crafted e-marketing
strategy gave edge to the movie and engaged the audience like never before.
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After two back to back landmark films of Hindi cinema Munnabhai MBBS and Lage Raho
Munnabhai, expectations from Rajkumar Hiranis 3 idiots had been very high. Added to that,
was the combination of producer Vidhu Vinod Chopra, Hirani and Aamir Khan coming together
for the first time. After its release the film sustained all its hype and becomes the highest earner
till date in Bollywood.
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3 idiots is an example of a very successful 360 degree marketing campaign. Its success story is
written with their innovative techniques and all inclusive marketing strategy. The film managed
to explore multiple touch points and reach out effectively through digital media and experiential
marketing techniques. Zapak, the online gaming portal, created an alternate reality game on
http://idiotsacademy.zapak.com/idiotsmain.php As part of this, Aamir khan traveled through
India, leaving clues about his whereabouts and participants of the game got two weeks to track
him down. People were kept updated about the hunt through http://twitter.com/trackaamir and
specially created Facebook account. On Facebook, a profile called Pucca Idiot has been created
that has more than one lakh fans. The profile has videos and pictures of Khan's journey. Varanasi
33
was the first place Khan visited, disguised as an old man locating the house where his mother
grew up.
The official website of 3 Idiots http://idiotsacademy.zapak.com/idiotsmain.php and its logo
were interesting creation. The website takes visitors to different rooms of the Academy
each of these the Directors office, Hostel, Classroom, Lab, Canteen and Toilets that has
something interesting to offer.
Music of the movie was released online, instead of any grand location. After the music
release, fans were invited for a video chat with the cast and crew of the movie.
A number of online videos of trailers, promos, interviews about the movie were released on
http://www.youtube.com/results?search_query=3+Idiots&search_type=&aq=f and are getting
huge popularity. The http://www.youtube.com/watch?v=xvszmNXdM4w&feature=channel
has received nearly 3160507 views.
34
Best
Film
A w a r d , seven S t a r
S c r e e n A w a r d s and nine Zee Cine Awards. It also won the National Film Award
for Best Popular Film P r o v i d i n g W h o l e s o m e E n t e r t a i n m e n t .
35
Khan Brothers knows it very well that marketing a big product like a movie can be very
expensive business, when the product has limited shield life. After spending Crore of money on
making a movie, the Production House spends more on letting audiences know about it. Movies
have to be a hit on their opening weekend, often on their opening day, otherwise they tend to
disappear very quickly, and the Producer stands to make a loss on their investment.
Though after the success of Wanted Salman Khan was already on the demand, it was Dabangg
that secured his entry into the elite club of 100 Crore grosser. Dabangg sells a character to its
audience - a character that is made up of all the clichs one can associate with this genre.
From
producers
the
make
official
use
release
of
of
video
the
First
uploading
Trailer
sites
l i k e YouTube as source of Viral Marketing. But this movie was made for mass people and
to make it a big hit they have to come up with new strategies.
Arb aaz ado pt ed a n ew m ar k et i ng st r at e g y fo r Dab an gg. He bel i eves t hat hi s
fi l m can do busi nes s for m ore t h an R s. 200 C ro re i f t h at fi l m rel eased i n non m u l t i pl ex t heat r e fo r m as s people. The ticket price in multiplex hall is more than
Rs. 300w h i c h i s v e r y h i g h f o r a c o m m o n m a n . S o , c o m m o n p e o p l e watch
movie by pirated CD/DVD which comes in Rs. 10-20. But if a new film is available in theatre
36
for Rs. 20, 30, 40, 50 then any common man will like to watch film in theatre. So, movie
was r e l e a s e d
across
1,584
single
screen
theatres
for
common
people. This strategy worked against the piracy also, as tickets were cheaper, and number of
people came to watch the movie. Post-release promotion plays significant role in the success o f
t h e m o v i e . W o r d - o f - m o u t h h a s a l w a y s b e e n a f a c t o r i n a m ov i e 's suc c es s
or fai l ur e , but i n t o da y's soc i al l y n et w or ked world, it has become vitally important.
Because of big fan-base of Salman Khan People tweet, post status updates and blog reviews as
soon as they leave the theatre, and their reactions spread globally and instantly.
Reliance Big Home Video have released Hindi blockbuster Dabangg on YouTube. The full
movie has been put on http://www.youtube.com/user/DabanggTheFilm and will be available for
free viewing to audiences in India. Users can also view popular scenes, songs and footage from
the making of the movie. Till date it has been subscribed by 1,929 users and viewed by 780,883.
37
Dabangg is the first Indian blockbuster to be released on YouTube in India on an advertisementsupported model. Hindustan Unilever is the exclusive sponsor for the movie on YouTube India.
The channel is only available to users in India and will be IP-blocked in other markets of the
world.
38
Sweta Agnihotri, COO of BIG Home Video, was quoted as saying, We realize that the Internet
is the new TV for the ever-connected youth today. Our vision is to make our content available to
Indian consumers across any screen, any where and at any time of their choice.
According to Gautam Anand, Director, Content Partnerships (JapanAsia Pacific), Google, This
initiative marks a major shift in the way movies have been traditionally distributed and opens up
a new business opportunity for movie producers and distributors alike.
Over 30% of the views come from discovery - related videos and YouTube search. A good 12%
also comes from embeds from external sites. While, the attention span for the full videos is high
incase of movies like Dabanng (50% attention span), the attention span for short clips (average
length 2 minutes) is above average for Dabangg clips.
Source:http://static.googleusercontent.com/external_content/untrusted_dlcp/www.google.co.in/en/in/intl/en/adwords/wat
chthisspace/pdfs/YouTube_Case_Study_Dabanng.pdf
39
Golmaal 3 released in India and internationally on 5 November 2010 to coincide with the Diwali
weekend, usually considered a profitable time of the year. The film's opening collections on the
first day reached 8.32 Crore and opening weekend net collections stood at 33.5 Crore. Opening
week gross collections were around 62.25 Crore in India and 10 Crore overseas.
The film had a strong second weekend in theatres, grossing 19 Crore. During its second and third
week at the Indian box office, the film grossed 31.75 Crore and 9 Crore respectively, therefore
increasing the film's total to 103.50 Crore. Meanwhile, the film earned $1,132,192 in United
States and Canada, 638,496 in UK and $352,063 in Australia.
40
The game is the classic dumb charades game where the users are expected to guess the movies
enacted by Tusshar. Movies like 3 Idiots, Dabangg, Tohfa, Jeet and obviously Golmaal have
been enacted by him. The game promises a high degree of interactivity and engagement with the
consumer and thus would lead to a high brand recall. Social networks are also being used to
increase the games popularity. Bollywood Hungama boasts of 60,000 unique visitors who have
enjoyed the game. Hungama Digital, has bagged bronze in the best use of social marketing in a
promotion marketing campaign for Golmaal Charades a dumb charades game launched for
the movie Golmaal 3, at the coveted promotional marketing awards of Asia The Dragons of
Asia.
41
It also held records for the highest grossing Bollywood film of 2011 and the third highest
grossing Bollywood film ever domestically. It became the first Indian film to release on at least
1000 UFO digital prints and almost 1900 prints in all. As of 2012, the film is the eight highest
grossing Bollywood film ever worldwide.
The film collected 13 Crore net on its first day of business, thus becoming the second highest
opening day grosser across India after Dabangg. The film held the record for the third highest
grossing Bollywood film ever made domestically after its theatrical run. Box office India
declared it to be a Blockbuster, while Taran Adarsh of Bollywood Hungama called it an all time
blockbuster.
42
43
Sanjeev Lamba, CEO, Reliance Entertainment said, A hard-hitting story, the wonderful
combination of director Rohit Shetty and star Ajay Devgan and some amazing action sequences
have resulted in an extremely successful run for the film. Singham is the first mainstream film
produced by Reliance Entertainment and we are very pleased with the results.
44
45
The film broke many records upon its release. Within the first day of its release, it went on to
become the highest opening day grosser as well as the biggest grosser ever for a single day up
until then. The film set another box office record, netting 100.10 Crore in its first week, thus
becoming the highest opening week grossing Bollywood film. By the end of its fifth week,
Bodyguard netted a total of
where it was declared an 'All Time Blockbuster'. According to CNN IBN news channel, the film
has collected around 253 Crore Gross World wide.
46
The movie which was released on August 31, 2011 was put online on YouTube by its right
owners on December 16, 2011 on www.youtube.com/boxoffice where Indian film content
partners like Yashraj Films, Rajshri, Eros International, Reliance Entertainment, etc are showing
full length feature films for free in India.
47
The film was released on October 26, 2011. The film premiered in Dubai, London and Toronto
between October 24 and 26, 2011, and witnessed the largest Indian cinematic release worldwide
as of 2011.
48
In keeping with the on-going trend of wide releases, the film was released with 3100 prints (400
in 3D) for domestic theaters and 1100 (200 in 3D) prints in overseas theaters. This was the single
largest release for any Indian film.
Ra.One used state-of-the-art animation. Contrary to original trend of India being the outsourcing
hub for VFX work of Hollywood, Ra.One observed reverse outsourcing in VFX technology.
Lead studio Red Chillies VFX worked in collaboration with teams from international studios at
Paris, London and Thailand. The film had 3500 VFX shots with 800 committed to G.One
making it comparable to that in James Cameroons Avatar.
An aggressive campaign of the movie began almost nine months in advance of the actual release.
For the marketing the film tie-ups with big brands such as Volkswagen, Tag Heur, Western
Union, Ducati, Videocon, Godrej, Coca-Cola, HCL, Horlicks, Home-shop, Nokia and Google.
Ra.One net box office collections crossed INR 100 Crore marks. Star India bought the satellite
rights for INR 38 Crore and T-Series paid INR 15 Crore for music rights. Over 25 brands
associated with the film paid a total of INR 52 Crore. The UK government gave a grant of INR
20 Crore for co-producing the film with a UK based firm. The film made INR 15 Crore from
gaming and merchandising. Sony has developed the Ra-One game for their PS2 and PS3
platform. UTV India games developed digital games based on the films characters. Fast food
chain McDonalds India offered Red Chillies manufactured Ra.One toys to their patrons.
49
Ra.Ones YouTube Channel is a customized channel for the movie on the worlds biggest video
sharing site. This channel has a VFX-enhanced YouTube video featuring Shah Rukh himself,
probably the first time in India. The channel gives the online viewers or users a chance to play
games and create their own Ra.One promos, view clips and behind the scene shots of the movie,
uncut footage and the thoughts of the star cast. It has garnered around 16,478,117 views and
ranked 29th in the list of Most Subscribed channels of India with a subscriber base of more than
31,662 till date. The movies official Facebook page boasts of more than 4, 00,000 fans and the
number is still counting. The page not only has lots of applications but is substantially
informative and interactive. The official website of the movie is equally interesting with loads of
interactive applications, a complete online store to buy toys and other merchandise related to the
movie.
Source: Digital Dawn: The metamorphosis begins, Indian Media and Entertainment (M&E) Industry Report 2012, by FICCI-KPMG
51
241.5 Crore. The first look of the film was unveiled at the Dubai
International Film Festival. Later movie was showcased at the 62nd Berlin International Film
Festival.
Economics of Shah Rukh Khans Don 2, by Komal Nahta on December 23, 2011
In The Hands of the Producers:
All rights sold to Reliance Entertainment
Rs. 80 Crore
Rs. 15 Crore
Total revenues
Rs. 95 Crore
Rs. 65 Crore
Profit to Producers
Rs. 30 Crore
Rs. 80 Crore
Rs. 25 Crore
Rs. 5 Crore
Total cost
52
Revenues:
Satellite rights
Rs. 36 Crore
Music right
Rs. 9 Crore
Overseas theatrical
business (expected)
Rs. 25 Crore
(minimum; of this revenues of about Rs. 15 Crore have
already come in from pre-sale of rights of some parts of
Overseas circuit)
India theatrical
business (expected)
Total revenues
Therefore, the profit to the Reliance Entertainment will be a minimum of Rs. 12 Crore (Rs. 122
Crore minus Rs. 110 Crore). If the film scores better in Overseas and India, the profit could go
up to Rs. 20 Crore. The return on investment would, therefore, be a minimum of 11 per cent and
it could go up to 19.8 per cent. In filmy parlance, this would be termed a Commission Earner in
the hands of Reliance Entertainment. For the sake of clarity, any film which earns more than 20
per cent on the investment is termed an Overflow film.
Source: http://www.koimoi.com/box-office/exclusive-economics-of-shah-rukh-khan-s-don-2/
53
The film has also associated with McDonalds and Caf Coffee Day in 20 cities to provide free
Internet access using Wi-Fi in their outlets. The filmmakers also tied up with Microsoft India to
launch a "Meet the Don: Mission Berlin" contest that offered the chance to meet Shah Rukh
khan, in addition to a free trip to Berlin. To popularize the contest, Microsoft planned a 360
marketing campaign which included a television commercial, radio advertisements, digital
banners and retail collaterals. The marketing effort has been 360-degree including even a comic
launch published by Om Books. The comic is on the origin of Don and fills in details on the
making of Don, thus acting as a prequel to the sequel.
www.mydala.com, Indias first and largest group buying/social commerce portal, has been
selected as the social commerce partner for promoting Don2, through an aggressive multimedia
campaign encompassing group-buying, social media, and various ATL and BTL marketing
promotions.
Under the Mission Get Don, mydala decided to give thousands of free tickets to watch Don2
through various contests and shopping deals on mydala.com. There are movie tickets to be won
through SMS contests, plus exciting movie merchandise at stakes! More than that for every
54
participant Don 2 movie tickets of leading multiplexes made available at a deeply discounted
price.
Excel Entertainment collaborated with Indias largest game services company Gameshastra, to
launch a console game. The firm developed a third-person action adventure console game where
the player plays as Don and does actions similar to those done by Don in the film. A social game
called "Don The Social Mobsters Game" was launched on Facebook and developed by Mango
Games. The game is available on Android, iOS, and PSN for PlayStation 3 platforms.
The official website of the film http://don2thefilm.com/ was huge hit among the users. The trailer
of the film was the most watched video in India on YouTube in 2011.
55
Eros International Media Ltd (EIML), a leading global company in the Indian film entertainment
industry, has released Agneepath, in the international markets. In its opening weekend, the film
has shown collections of Rs 160 million in the international market. Eros released Agneepath
internationally on 337 screens, the highest ever for any Hrithik Roshan film.
56
channel, and other partner sites. www.mydala.com has also roped in the movies leading stars
Kancha (Sanjay Dutt) and Kaali (Priyanka Chopra) to lend their voices for an aggressive
campaign across leading radio channels in several cities all over India.
As part of promotional drive 2011-12 India Australia series has been labeled as the Agneepath
Series instead of Border- Gavaskar trophy. Hrithik Roshan also shoots a special promo to
promote the series and the movie. In other marketing strategy, producers launched the 'Mandwa
Samachar' which is a newspaper that also serves as the film's press kit and it was given to
audiences across all theatres.
PAYBACK, India's largest multi-partner loyalty program, along with their partner Bookmyshow,
through its campaign to gave its customers once in a life-time opportunity to meet the actors of
Agneepath.
The first official trailer of Agneepath was launched at a press conference in Mumbai on 29
August 2011. Dharma Productions streamed the event live on the production house's YouTube
Channel. The event was attended by the entire cast. The trailer of the film was the third most
watched trailer in India, behind the films, Don 2 and Ra.One.
The look of the movie and its main characters are also revealed strategically through social
networking sites to engage the audience. Film producer Karan Johar tweeted a link that was to
reveal Hrithik's look in Agneepath, humbly asking for a feedback on the same. In no time did the
fans start flooding to the link, the official Facebook page of the film - Agneepath, where
Hrithiks look was exclusively revealed. The hulk, fiery very macho, awesome body &
cant wait to see more of him was the kind of comments that flooded on the page.
The film associated itself with McDonald's to provide a discount of 50 to customers buying a
meal at the joint. Additionally, few winners were offered a chance to win a lunch date with
Hrithik Roshan. As part of the promotional campaign, star cast of the movie visited Dubai on 19
January 2012, to interact with fans at a shopping mall, followed by an invitational high tea party.
The actors travelled to several places in India including New Delhi, Nagpur and other cities to
promote the film.
58
Housefull 2 got a 2700 screen release which is amongst the fourth biggest of all time, behind
Ra.One, Bodyguard and Don 2 and the biggest release of 2012. Housefull 2 was screened in
1,027 UFO digital theaters on first day when it released. It opened very well at the box office and
was declared a Super Hit at the Box Office. Housefull 2 entered into the third week of business
with Rs 102.25 Crore net. The satellite rights of the film were sold in January 2011 for 27 Crore.
The music rights fetched an additional 5.5 Crore.
Housefull 2 is the second most successful film of the year after Agneepath, it is Akshay kumar's
first film to cross the 100 Crore mark and Asin's third most successful film.
59
60
Commenting on the launch, Niraj Roy, MD and CEO, Hungama Digital media, said 'consumers
today can get a taste of their most awaited films through various digital platforms. Users can
experience with several devices. Also, Movie marketers are constantly exploring the potential of
the digital medium to reach out to people across different ages, segments and genders. Sajid
Khan, director of Housefull 2 said 'we wanted to promote the film on much larger platforms,
which reached out to audiences worldwide".
61
In Rowdy Rathore, what truly works in the film's favor is a combination of the two stars,
Akshay's perfect timing, and Prabhudeva's fine-tuned southern sensibilities, which come together
to make Rowdy Rathore an out-and-out entertainer. With Rowdy Rathore, Akshay returns to his
trademarked action avatar seven years after he was last seen in one, in 2004's Aan: Men at Work.
'Rowdy Rathore', is still roaring with its huge success and entered into the 100 Crore club on its
11th day. Rowdy Rathore has spelled its magic even long before the release. Reportedly, the
film's satellite rights have been sold for 35 Crore.
62
The cast and crew went to Dubai as part of promotional tour. Sonakshi Sinha promoted the film
on Big FM. And on the 26th May, she came to promote the film on Dance India Dance Lil'
Masters on Zee TV and the Zee Network are giving out free cinema tickets to people who are
correct in the Safari Cinema.
Wardrobe Company Dollar Industries has tied up with the producers to promote their products
along with the film. To promote this initiative, Dollar has come up with a new TVC featuring the
Rowdy Rathore Akshay. Apart from this, the company is also running a Facebook campaign
wherein one needs keep sharing the pictures of Rowdy Rathore to participate in the contest and
answer simple questions about the movie to win free tickets and exciting prizes. The campaign,
which has just started, has received remarkable response from every corner of the country.
63
RESEARCH METHODOLOGY
RESEARCH OBJECTIVE
The subject at hand, as put earlier, is e-marketing of Bollywood movies. There are methods which are being
used traditionally for film marketing like print ads, outdoor posters, TV commercials and radio jingles etc. But
when we talk about e-marketing we specifically shift our focus to those methods of film promotion which are
leverages on Internet. Though still it is in its nascent stage in Bollywood, but catching up speedily. Therefore a
list of only those films are drawn which already created a history by earning more than 100 Crore rupees. A
careful study of the e-marketing strategy of these movies will give a clear insight that what role it plays in the
success of these movies.
1. To study the 4Ps of the movie marketing.
2. To analyze the importance of marketing in promoting movies.
3. To find the best marketing strategy for promoting the Movie.
4. To know the impact of movie promotions on the viewers.
5. To understand conventional (television, newspaper/magazines, radio, web, outdoor) as well
unconventional (internet, mobile, digital) choice of media by the film marketers.
6. To find out the effect of e-marketing strategies on viewers.
EXPECTED OUTPUT FROM THE RESEARCH
The research conducted as discussed earlier would go a long way in establishing a few facts about my
dissertation which could be helpful in inferring the following:
Whom should the film marketer communicate to? A movie as a product appeals to
different section of the society and accordingly every section looks for a particular
attribute in the product (a movie in this case) which would appeal to them. However, it is
important to understand that if the decision maker is influenced enough, it would translate into
theatrical viewership thus raking in the big bucks.
64
What appeals to whom? Its important to know that what are the products attributes that appeal
to different sections of the society when divided in terms of age groups and gender. So that when the
communication plans designed for the movie it would be accordingly positioned.
What are the factors that influence the decision? The factors that influence the audience to
see a movie in a theatre helps the film maker/marketer to focus on individual aspects which holds
value for the consumer.
Which media reaches the most? Now that I have boiled down on the characteristics of the
product, its important to know where and how do you communicate with the TG so as to have the
maximum reach.
Which aspect of film marketing appeals the most? What in terms of the media works the
best with the TG when it comes to film marketing is what I am trying to determine.
RESEARCH METHODOLOGY
Research defines a scientific and systematic search for pertinent information on a specific topic.
The data will be collected to achieve above mentioned objectives.
Primary data:
It will consist of information that already exists somewhere in documents. The secondary data
will be collected from the newspapers, expert reports and internet websites etc.
Internet: - www.google.com, www.wikipedia.com, www.imdb.com etc.
Industry reports and analysis
Film critics reports and review
Books, Magazines & Journals.
65
66
3. Which mediums for film publicity influence you to watch the film?
Television also came up as the most influential medium for promoting a film. However other
mediums like outdoors, radio, and internet were age and gender specific. Especially among
youngsters internet in general and social networking sites in particular are main influencing
factor. Movies teasers and promos are getting launched on websites like YouTube and Facebook.
Users are getting influenced and at the same time influencing others in terms of media
consumption habit.
Male
Female
Group
12-14
They watch movies majorly with their families Girls in this age group also like watching
followed by friends. They are generally the movies with their family followed by friends.
decision maker or their friends influence them to watch They prefer going in groups of friends
a movie with them. Frequency: 9% watch movies at- and hence, a collective decision making
least once a week and 43% catch it once a month. process happens here. Frequency: 34%
23.3% manages to catch it once fortnight.
15-19
67
20-29
Here, watching with family is between normal to seldom For all girls having boyfriends or spouses,
but with friends is very frequent. Watching with they become a major influencer and watch
spouse /girlfriend is from a case to case basis movies mostly with them. However compared
they become the primary influencers else friends are. to boys, they are more family driven and
Frequency: 10.2% watch it more than once a week and friends yet top the list of watching movies
54.5% catch it more than once a month. 35.2% catch it with. Frequency: 14% watch a movie more
once in a fortnight.
30-39
68
69
Yes, what emerges is the need for out-of-box-thinking and the creative cap to be worn. By being
me-too of another films strategy and aping it the novelty factor is lost, hence every time there it is like a new
challenge for the marketer.
Concluding this research I would say that there is no linear approach to whether conventional mediums
should be deployed or unconventional. What needs to be understood are the factors in
consideration and saying the right thing at the right time with a streamlined objective. There is no
100% guarantee for success but definitely will help to a great extent to the get the crowd in for the first week
and post that.
70
LIMITATION
UNIVERSE SIZE
As stated earlier, the product under consideration has a mass appeal, as the average movie-goer
can be a 12 year old school kid to a housewife. Hence it is not really possible to boil down to the exact
population size. When I say the movie-goers, the term itself covers a lot of people with no actual check so as
to derive a realistic & relatively accurate number. Hence the universe of cinema audience who consume the
product in theatres has to taken as an arbitrary figure.
Considering the population of this country, this figure cannot be less than 20000 by any stretch of imagination
and the sample size value seizes to vary much when the population size is more than 20000. Thus with
population size x>20000, confidence level of 95% and percentage value of 50%, at a sample size of 764
we have a confidence interval of 3.54%. Simplistically put, the results of the survey are 95% accurate
with a variation bandwidth of +/- 3.54%. Now for the distribution of the sample sizeFor the sample
population, I have majorly concentrated in Delhi due to limitation of resources and time constraints.
I have made a conscious attempt to leave rural sections from the survey, the reason for the same being limited
media exposure and small growth driver for the industry. I understand that the major growth prospect for the
industry would be increasing number of multiplexes and overseas market as the target audience
chunk remaining more or less the same world over, the growth driver has to be growing gate
ticket size in terms of currency. Hence I have concentrated on the age category from 12 years to 40+ years
in my survey.
Also the age wise distribution matches with the consumption pattern of cinema as a product, as furnished by
leading industry researchers. To following graph present a fair idea about this:
71
The numbers given in the above figure shows the percentage value in each category. For my final analysis, I
employed two filters in terms of consumption pattern and consumption behavior i.e. people who do not
consume the product in theatres or those who prefer not to, have been left out of the final
analysis; also those who consume at a frequency of once in three months or less than that have been
excluded from the final analysis. This leaves us with a number equivalent of 622 respondents which translates
into a confidence interval of +/- 3.92%.
The mode of collection of responses has been majorly through online questionnaires.
72
BIBLIOGRAPHY
http://www.hindustantimes.com/Brunch/Brunch-Stories/Bollywood-s-100-crore-club/Article1864033.aspx
http://www.indiastat.com/media/21/filmsandcinemas/61/stats.aspx
http://marketingchitchat.wordpress.com/category/movie-marketing/
http://www.mediaknowall.com/gcse/Blockbuster/MovieMarketing.html
http://www.movieindustrymarketing.com/cgi-bin/gt/tpl.h,content=18
http://www.imdb.com/
http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/MerchandisingTHE-MERCHANDISING-PROCESS.html
http://www.businessofcinema.com
http://www.wikipedia.org/
http://wogma.com
http://hochpoch-ppd.blogspot.com
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APPENDIX
RESEARCH QUESTIONNAIRE
The objective of this questionnaire is to understand the psyche of the masses (audience) that flock to theatres
when a film releases and what pulls them there. The idea is to understand the effect of conventional vs.
unconventional promotional techniques to draw in the audiences.
1. Do you watch Bollywood movies in theatres?
A. Yes
B. No
74
Normal
Frequently
5. Kindly give your order of preference, which genre of movies would you sees in theatre?
Type of Movie
Rarely
Normal
Frequently
Comedy
Thriller
Action
Animation
Musical
Children
Epic/History/Mythology
Love Story
Normal
Most
TV
Print
Radio
Internet/Digital
Medium
Outdoors
8. What drives you to see a movie in theatres in the first week of its release?
..
75
12. To what extent, does the following aspects of film marketing campaign appeal to you?
Type of Promotion
Least
Normal
Most
13. Name
..
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14. Gender
A. Male
B. Female
15. Age (Years)
A. 12-14
B. 15-19
C. 20-29
D. 30-39
E. 40+
16. Profession
A. Employed
B. Self Employed
C. Unemployed
D. Housewife
E. Student
77