ACKNOWLEDGEMENT This summer training is of an immense academic record and value for thestudent of any professional course and for the MBA student who have tobe in the industry with the theoretical knowledge; this practical experiencegives an extra confidence in his performance. I would like to thanks the USHODAYA Enterprises Limited that gaveme the honour to complete my summer training in the field of Media. Iwould like to thanks all the employees & associates of USHODAYAEnterprises Ltd who really helped me in understanding all the functionsand activities of the organization from time to time. My heartiest thanks are due to Mr. RAJIB CHATTERJEE, whoencouraged me to cope with the problems that I faced during the course ofthis project and to every member of Marketing Department for their helpand cooperation with me during this project.I am also thankful to the respondent of my questionnaires who gave theirprecious time to accomplish my project.Lastly I would like to thank all those who helped me in any way in myproject.(Kalim Ullah)
Company Profile Eenadu – Ramoji Film City Group The GroupWell diversified with divergent business activitiesKnown for providing quality products.Known for solidity, dependability and trust worthinessBelieves in transparency, human values.A corporate - Fair business practices
Group business interest Publishing Entertainment and Film Making Financial Services Consumer products Marketing & Retailing Hotels & Leisure Integrated Film Studio mega complex TV Software development Publishing Eenadu- Telugu Daily Before Eanadu and after Eenadu.Two phases in language news publishing. Eenadu was born out of an inherent need of Telugu for a newspaper in their own language- best their nuances, their concerns, their views.
Today the newspaper of the Telugu is Eenadu.More households in the state of the Andhra Pradesh wake up to Eenaduthan other news daily. the heart and soul of Andhra Pradesh, it enjoys acirculatio of over 8 lakh copies per day and is published simultaneouslyfrom 15 centres.News time- English Daily A popular English daily published from Hyderabad, Newstime isknown for its extensive and impartial coverage of local, national andinternational news.Sitara- Film Magazine WeeklyAnnadata- Magazine for farmersVipula & Chatura - Family reading Magazines
EenaduLargest circulated Telugu daily in AP with a circulation of over 9.0 lacs,and it is third most read daily in the country with a readership of 92 lacs.Eenadu is simultaneously published from 12 centres of APEenadu is the first Telugu daily to come in color all days.Eenadu is contemporary, quick in adapting to new technologies.Eenadu is known for providing authentic and speedy news.Eenadu is consumer driven in approach brought out many features(woman’s page, sports page, cinema page)Eenadu is Heart & Soul of Andhra. Entertainment & Film makingETV-NetworkUshakiron MoviesMayuri Film DistributorsMayuri AudioUshakiron TelevisionUshakiron Movies Ltd
EntertainmentETV – Eenadu TelevisionThe ETV Networks has a host of successful satellite language channels:ETV Telugu, ETV Bangla, ETV Urdu ETV Marathi, ETV Kannada.The channel has a strong news networks across the country. The ETVNetworks also own India’s first private earth station set up in technicalcollaboration with world leader, Scientific Atlanta. First Telugu Satellite Channel with 18 hours programme. Entertainment packed with target specific programmes. Serials featuring stars of Telugu film land Known for strong new gathering network.Ushakiron MoviesMost professionally managed Filmmaking Company.Produced over 50 films in Telugu, Kannada and Hindi.Enjoys good reputation among filmgoers.Known for producing clean entertainers.Mayuri Film DistributorsDistributed over 100 films in APKnown for scientific approach and deft handling of distribution affair.Believes in total transparency in transactions.Respected by Exhibitors and Filmmakers.
Ushakiron Television Well – Established TV Software Company run by experiencedprofessionals and accomplished creative personnel.Provides software to all group channels and has produced over 2000 hoursof software.Has commissioned multi crore, multi lingual mythological serials, whichwill be a visual feast because of high production values and mind bogglingspecial effects and are soon to hit small screen in a big way.
Financial ServicesMargadarsi Chit Fund Limited36-year-old flagship company of the group.Chit fund is a cooperative investment and borrowing instrument, (aconcept very strong in South India).Margadarsi is the largest chit Fund Company in AP.Annual turnover of 1000 crore with 56 branches.Has a subscriber base of 2,00,000 members.Margadarsi has institutionalized chit concept in AP.Margadarsi Chit Fund is known for trust & dependability.Margadarsi Financial ServicesInvolved in fee based activityEngaged in bill discounting, leasing, loan syndication, under writing, andother financial services.
Consumer ProductsPriya – PicklesPriya is manufactured in fully automated factory at Vijayawada.Priya is very strong brand with national presence, and is also exported toUS/middle east.Priya has a strong product range with 23 flavors unmatched by any othermanufacturer.Priya is known for genuine Indian taste and consistent quality.Priya masala paste, masala powders and culinary pastes are also availablein select states.Priya has introduced soft - boiled, hard-boiled, center filled toffees andcandies under the brand name of ‘Yahoo’, ‘refresh’, ‘softer’ and ‘wow’.KalanjaliIt is exclusive show room spread over 10,000 sq.ft in the heart ofHyderabad.Kalanjali houses handicrafts & handmade textiles made available in Indiaunder one roof.Kalanjali is discerning consumer’s delight.Merchandise here is picked up from master crafts & weavers.Kalanjali’s design department has created many exclusive patterns.
Dolphin Group of HotelsDolphin – VizagThe first star hotel in townCentrally locatedFriendly serviceSitara – RFCLuxury hotelComplete facilityAsia’s best equipped health clubClub house with best indoor gamesConference facility.Tara – RFCComfort – Economy hotel24 hours restaurantElegant room
Integrated World’s Largest Film StudioComplexRamoji Film CityRamoji Film City is the world’s largest and most comprehensive filmstudio complex, spread across a mammoth 2000 acres.Numerous filmmakers and units including several from Hollywood havealready filmed some class acts here.The Ramoji Film City has:Walk-in with script and walk-out with canned filmWorld largest film studio complexScores of locationsForty studio floorsLush gardens, avenues and fountainsA fully equipped prop facility with every conceivable kind of prop.Set design and constructionState-of-the-art equipment and experienced production staff to assist you.Editing, dubbing and sound recording facilities.
Introduction to the Project The summer project undertaken by the researcher aims at the followingobjectives i.e. to measure or assess the market potential, to obtain marketinformation from the suspects, to explore & exploit untamed businessopportunities, to find and generate new ideas for product development aswell as renovation an to obtain other related information that could becrucial to make short term and long-term forecasts so that the firm can takenecessary policy measure which enhance and further consolidates themarket share of the firm and establishes it as a trend setter and marketleader To obtain the above-mentioned objectives the researcher has extensivelyused the tool i.e. marketing research. Basically market research specifiesthe information required to address these issues, designs the methods forcollecting information, manages and implements the data collectionprocess; analyses the results & communicates the findings and theirimplication.
The Project Aim & Objectives Project Title: Acceptance of E-TV Urdu in Hyderabad and Secundrabad, A.P. Objectives: Do they know the E-TV? Do they get it at home? Acceptance of this channel? Favorite Programmes? Why do they like E-TV? What do they find in E-T.V. Urdu, which they don’t in other Hindi channels? What do they find missing? Top three Programmes that men/women/kids watch. Which News bulletins and hourly News (Samachar, Khaas Baat, Khabarnama, Khabraen.) they like most? Which Channel do you think can give similar entertainment value?
Types of Research1. Exploratory2. Conclusive Exploratory Research : Exploratory research is done in the view to find secondary data collected by means of varied sources. It encompasses details gathered from knowledgeable person and it also uses case study up to certain respect. Conclusive Research : This is used to find out some concrete relationship between certain known factors. It tries to form up complex relationship between cause & effect. In this study the researcher tried his best to conduct the conclusive study.
Research Methodology & Data CollectionResearch Design : Research design is the plan, structure and strategy ofthe research scheme on which the researcher is to work. The structure ofresearch is more specific outline or the scheme and the strategy show howthe research will be carried out specifying the method to be used in thecollection & analysis of data. The researcher applied here descriptive studies to measure the marketpotential and ideas for product/solution development as well as therenovation and to obtain other related information that could be crucial tomake short term as well as long term forecasts and planning.Data Collection: In fulfilling the objectives of the project only primarydata were collected through Personal Interviews.Primary Data: Primary data refers to those, which are collected for thefirst time and whose statistical treatment has yet to be done. As the survey was not exhaustive, so the samples have been chooserandomly assuming the whole universe homogenous.
The primary data can be collected mainly by the following methods.1. Direct & Personal Investigation: In direct & personal investigation, as the name suggest, the investigator has to collect the information personally from the sources concerned. He has to be on the spot for conducting study. It is necessary that in such cases the investigator has keen sense of observation and he should be polite and courteous.2. Indirect Oral Investigation: Persons who are supposed to have knowledge about the problem under investigation are interrogated and the desired information is collected. Usually in such enquires a small list of questions related to the investigation is prepared and these questions are put to different persons (known as witness) and their answers are recorded. Invariably it should be seen that the persons being questioned:a. Know full facts of the problem under investigationb. Are not predictedc. Are capable of expressing himself correctly and can give true accent andd. Are not motivated to give color to the facts1. Questionnaires: “The questionnaire consists of a list of pre-set formed questions to be asked”. In this project ‘Disguised-Unstructured’ type of questionnaire is used to collect the primary data. The purpose for which Disguised type of questionnaire is used, is to collect the relevant information regarding the objectives of the project without disclosing the objective of the study. Universe: Hyderabad & Secunderabad Sample Size: 381
About UrduHistory of UrduUrdu language and literature, beyond their spatial confines, have beenmore heard of than read. With the publication of some notable translations,some of them in the recent past, a new literary culture seems to beemerging from the canons of the old. Modern Urdu poetry, of which this isthe first comprehensive selection, has its own tradition of the new.It has developed through stages of a variegated literary history. Thishistory has absorbed both the native and non- native elements of writing inArabic and Persian, and the Urdu language has survived through severalcrises and controversies.Some of these are related to its growth and development, its use by theBritish to divide the Hindus and the Muslims. It estrangement in the landof its birth following the Partition of India and its interaction with Hindionce akin but now an alien counterpart. Even with the extinction of thosegenerations of Sikhs in Punjab, Muslims in Bengal and Hindus elsewhere,who nurtured the language with love and for whom it was the mark of acultivated man, the language has survived and developed. It is now thecultural legacy of India and the adopted national identity of Pakistan, andsignificant new literature has emerged in both countries.Literary centre : Deccan, Delhi and LucknowLiterature in Urdu grew at three different centres: Deccan, Delhi andLucknow. As it happened, the Deccan emerged as the earliest centre, eventhough the language had first developed in northern India, as a result of aninteresting linguistic interaction between the natives and the Muslimconquerors from Central Asia, who settled there in the twelfth andthirteenth centuries, The period stretching roughly from the middle of thefourteenth centuries to the middle of the eighteenth produce a number ofpoets.
They are claimed both by Urdu and Hindi literary historians, but QuliQutub Shah (1565-1611) is generally acknowledged as the first notablepoet, like Chaucer is English, with a volume of significant poetry in alanguage later named Urdu. He was followed by several others, amongwhom Wali Deccani (1635-1707) and Siraj Aurangabadi ( 1715-1763)deserves special mention. Delhi emerged as another significant centre withMirza Mohammad Rafi Sauda (1713-80), Khwaja Mir Dard (1721-85),Mir Taqi Mir (1722-1810), Mirza Asadullah Khan Ghalib (1797-1869) andNawab Mirza Khan Dagh (1831-1905). It reached its height of excellenceduring the eighteenth and nineteenth centuries. Lucknow made its way asthe third important centre with Ghulam Hamdani Mushafi (1725-1824),Inshallah Khan Insha (1757-1817), Khwaja Haidar Ali Atish (1778-1846),Iman Baksh Nasikh (1787-1838), Mir Babr Ali Anis (1802-74) and MirzaSalamat Ali Dabir (1803-1875). These literary capitals, where the classicaltradition developed, had their individual stylistic and thematic identities,but broadly it may be said that the ghazal (love lyric) reached its zenithwith Mir and Ghalib, qasida (panegyric) with Sauda, mathnawi (romance)with Mir Hasan and marthiya (elegy) with Anis and Dabir.Hali and Iqbal : new poetry in UrduIn the period that followed, and before the launching of the ProgressiveWriters Movement in the 30s, mention should be made of Altaf HusainHali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet ofthe newer socio-cultural concerns and advocated natural poetry that hadan ameliorative purpose. His Musaddas is an important example of this. Hewas also a theorist who opened new frontiers in Urdu criticism with hisMoqaddama-e-Sher-o-Shairi (Preface to Poetry) which equalsWordsworths Preface to Lyrical Ballads in importance, and even surpassesit in certain respects. He realized that with the impact of the West a newperspective was required.
He, along with Mohammad Husain Azad (1830-1910), laid the foundationsof a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore.Azad had asserted in the same year that Urdu poets should come out of thegrooves of responses conditioned by Persian culture and root their works inthe ethos of the land. Seeing no response to his pleas, he reiterated thesame point seven years later on May 8, 1874 during his address on theoccasion of the first mushaira of the Anjuman. These appeals failed tomake and impact as sensibilities rooted in particular tradition are not easilyaltered even by impassioned pleas.Hali, creating a new taste for his age. Iqbal, with his remarkable religio-philosphical vision, and Josh Malihabadi (1838-1982), with hisnationalistic and political fervour, produced exceptionally eloquent kindsof poetry that continue to reverberate over the years. Iqbal remained themost influential poet to achieve artistic excellence while putting forward aphilosophical point of view, and his poetry, quite often, acquired the statusof the accepted truth.A host of others Urdu poets and translators of English poetry whoappeared on the literary scene during the first quarter of this centuryexperimented with non-traditional poetic forms but they ultimately echoedsentiments and adopted forms that were more or less tradition-bound. Theyalso looked towards the West, the traditional source of literary influence,but that was a world apart and too far to seek,They could reach only the Romantics who had already become outmodedin an age identified with Ezra Pound and T. S. Eliot. A characteristicallymodern poem in form and value, tone and tenor, remained at best anintriguing possibility.
Progressive Writers MovementThe 1930s emerged as the archway for entry into a new world and achievethe unachieved. Some young Indians-- Sajjad Zaheer, Mulk Raj Anand,and Mohammad Deen Taseer-- who wee then studying in London, musingon the role of literature in a fast-changing world, came up with a manifestofor what came to be known as the Progressive Writers Movement. Evenbefore this, Sajjad Zaheer, during his stay in India had published Angare(Embers), an anthology of short stories, with explicit sexual references andan attack on the decadent moral order.The book had to be banned, like Lady Chatterleys Lover, but the storieshad an impact, as they were thematically interesting and technicallyinnovative. The reader had suddenly become exposed to the worlds ofFreud, Lawrence, Joyce and Woolf.There was a world of new values waiting to be explored by an emotionallycharged and intellectually agile reader. The Progressive Writers Movementwas launched at the right time. This was the precise hour to shed the age-old traditions, take leave to the clichés, proposed new theories, and explorea new world order.Akhter Husain Raipuri, in his well-timed Adab aur Inqilab (Literature andRevolution) published in 1934, discarded the classical Urdu poets,including Mir and Ghalib, as degenerate representative of a feudalisticculture. This rejection was, however, based on extra-critical considerationsas he was more intent on popularizing Marxist thought in literature.Premchands famous presidential address to the conference of ProgressiveWriters Association in Lucknow two years later in 1936, came as a moreprecise call to relate literature to social reality. We will have to change thestandards of beauty, he had said, and beauty of him was that which Eliotidentified as boredom and horror in his own context.The movement focused on poverty, social backwardness, decadentmorality, political exploitation; it dreamt of an ideal society and a justpolitical system. Every rebel was, therefore, a progressive writer and vice-versa during those exhilarating days.
He was basically wedded to the idea of political and social revolution. Hedrew his inspiration from Marx. He rejected the striving for individualsignatures, new modes of expression and new experiments in form.It was important for the poet to denote rather than connote, and to appeal tothe larger humanity rather than to the individual.Falling victim of these errors before long, the movement alienated somenoted poets, the most important of them being N. M. Rashed (1910-75) andMiraji (1912-49), who came together to lead a group called Halqa-e-Arbab-e-Zauq (Circle of Connoisseurs) in 1939. The progressive writersinsistence on ideology and the impatience of those who cared more for artare reminiscent of the British poets of the 1930s and the later stance of W.H. Auden.Faiz Ahmad Faiz (1911-84) is the most prominent and the finest of thepoets who subscribed to the progressive ideology. He was singularlysuccessful in striking a balance between art an ideas. He was drawn uponsources other than Urdu and Persian and imparted an individual tone to hispoetry. He did not raise slogans; he only uttered soft notes ofexpostulation. He was inspired more by the spirit of liberation than byslogans raised elsewhere.Prominent among other progressive poets were Asrarul Haq Majaz (1908-56), Makhdoom Mohiuddin (1908-69), Ali Sardar jafri (b.1913), Jan NisarAkhter (1914-76), Kaifi Azmi (b.1918) and Sahir Ludhianawi (1921-80).They are mentioned here not only for the individual qualities of theirpoetry by also for their importance in this movement at a particularjuncture in literary history. Despite the deep political complexion of theProgressive Writers Movement, it prominence was a short-lived affair. Thenext generation of poets expressed certain misgivings about their emphasison class struggle in a materialistic and scientific world. The new poetwished to shake off all external shackles and apprehend his ownexperience for himself.
The modernism N. M. Rashed and Miraji are the two most remarkable poets in this group.They along with Faiz, represent in the Urdu language what Eliot and the Symbolists do in English and French. They appeared later but also showed a unique resilience and vitality. Faiz was a poet with a message, one woven artistically into a pattern of symbols and delivered in mellifluous tones. Rashed treated the Urdu language in a fresh way and created complex symbiotic fusion. Faiz appeals alike to the philanthropist and the philanderer, the pious and profane, the music makers and dreamers of dreams, but Rashed appeals only to a select readership. Faiz emerged as a myth in his own lifetime while Rashed and Miraji are yet to be fully appreciated. Rasheds resources are immense. The merging to the eastern and western influences accounts for the richness of his verse enhanced by linguistic innovation and poetic skill. Miraji, who reminds one of Tristan Corbiere in his bohemianism, drew upon Oriental, American and French sources, meditated upon time, death, the mystery if human desires, the raptures of sex and wrote in a variety of verse forms -- regular, free, and prose-like. He opted for esoteric symbolism, resorted to the stream-of-consciousness method and emerged as a unique modernist movement in Urdu poetry. It was on this tradition that individual poets later developed their own version of modernism. Majeed Amjad (1914-74), Akhtarul Iman (b.1915) and Mukhtar Siddiqi (1917-72) deserves special mention here. A poem for them was a delicate work of art that succeeded or failed for its artistic worth. Akhtarul Iman wrote ironic, nostalgic and dramatic poems, while Majeed Amjad wrote in an inimitable introspective mood and ideas. They served as models for the younger poets to follow. The impact of Rashed, Miraji and Faiz was immense and far-reaching. Their successors echoed them, learnt from them and so came to acquire their own voices in course of time.
The generations of poets since the 1950s faced new predicaments. ThePartition of India was an experience they had suffered, while the worldaround was also terribly alive and eventful. Groups of poets followed onafter another; Wazir Agha (b.1922), Muneer Niyazi (b.1927), AmeeqHanfi (1922-88), Balraj Komal (b.1928), Qazi Saleem (b.1930) grappledwith the world around in an idiom and form that were decidedly new andhad nothing to do with Progressive aesthetics. All of them acquired theirown individual identities and made their mark in the development ofmodern poetry. They looked back at their won masters-- Mir and Ghalib--and fared forward to Eliot and Empson.Modern literary and philosophical movements no longer remained alien.Realism, symbolism, existentialism, and surrealism, were drawn closerhome. Kumar Pashi (1935-92), Zubair Rizvi (b.1935), Shahrayar (b.1936),Nida Fazli (b.1938) and Adil Mansoori (b.1941), on the one hand, andGilani Kamran (b.1926), Abbas Ather (b.1934), Zahid Dar (b.1936), SaqiFarooqi (b.1936), Iftekhar Jalib (b.1936), Ahmed Hamesh (b.1937),Kishwar Naheed (b.1940) and Fehmida Reyaz (b.1946), on the other,experimented in form and technique, bringing in new diction and finding aplace for new experiences. The new poem had come into being;modernism had firmly established itself by the mid-1970s.Shaabkhoon, a literary journal, projected this movement in a big way andidentified the poets of the new order. Ever since its inception in 1966, ithas done a singular job -- especially during the vital 60s and 70s -- ofcreating a taste for modernism. Shamsur Rehman Farooqi, the mostperceptive of the modern Urdu critics, played a vital role in helpingrecognize the contours of modernism with his critical studies. his studiesappraising modern poets, as well as classical poets who bear upon themodern tradition, developed sound critical theories and helped in creatingan atmosphere for the acceptance and appreciation of modernism.
Tabulation and Quantitative Analysis In the study of my project related to the Acceptance of ETV Urdu in Hyderabad & Secunderabad, the method applied by the researcher to get the responses was ‘Random Sampling Method’. 1. Do you like to watch T.V. Programmes? TV Viewers No.of Respondent Percentage Yes 367 96.3 No 13 3.4 2. Which type of TV set do you have in your home? Type of TV set No.of Respondent Percentage Color 333 87 B/W 43 13 3. What’s the channel you watch most? Top Channels No.of Respondent Percentage Star TV 187 49 Zee TV 49 13 Sony TV 115 30 Others 68 18 4. What is the significance of Urdu to you?Significance of Urdu No.of Respondent PercentageLanguage 43 11Culture 92 24Identity 111 29All 127 33None 15 4
5. Have you seen ETV Urdu? ETV Viewers No.of Respondent Percentage Yes 341 89 No 38 96. Do you get this channel at your home? Channel Connectivity No.of Respondent Percentage Yes 337 88 No 40 107. On Which band, cable operator provide you this channel? Prime Band of Respondent No. Percentage Connectivity on Band Prime Band 63 17 S-Band 152 40 Don’t Know 145 388. Do you watch regularly ETV Urdu? Regular ETV Viewers No.of Respondent Percentage Yes 233 61 No 142 379. Do you like the ETV Urdu Programmes? Do they like it No.of Respondent Percentage Yes 333 87 No 41 11
10. Which is your favorite genre? Favorite Genre No.of Respondent Percentage Family soap 93 24 Comedy 161 42 Thrill / Action 50 13 Suspense 69 18 Cartoon 36 9 None of these 16 411. Why do you like this Programme?Why they like No.of Respondent PercentagePresentation. 117 31Actors/ anchors. 46 12Timings. 30 8Story 77 20All 43 11None 15 412. When do you watch this channel? Time when they WatchNo. of Respondent Percentage Morning 68 18 After Noon 41 11 Evening 175 46 Night 130 34
13. Who watch ETV Urdu Programmes in your family other than you? Other No. of Respondent Family Percentage Members Father 40 10 Mother 45 12 Sisters/Brothers 47 12 Other 22 6 All family members 206 54 None 31 814. What do you find in ETV Urdu, which you don’t find in other Hindi channels? Reason to watch No. of Percentage ETV Urdu Respondent Culture & Tradition 120 31 Language 90 24 Entertainment 55 14 Knowledge 56 15 All 60 16 None. 21 615. Suppose the story of your most favorite serial on other channel e.g. Star, Sony. Zee TV etc. are also to be the story of a serial with Urdu speaking characters and telecast simultaneously on ETV Urdu. Which one could you prefer to watch? Channel Prefer No. of Respondent Percentage ETV Urdu 270 71 Other Channel 97 25
16. What do you find missing in this channel? They miss in ETVof Respondent No. Percentage Urdu Quality 58 15 Presentation 41 11 Popularity 152 40 Others 26 68 All 32 8 None 63 1617. Do you watch the News bulletins? News Bulletins No. of Respondent Percentage Viewers Yes 292 77 No 86 2218. Which News bulletins do you like the most? Favorite Bulletin No. of Respondent Percentage Khabar Naama 120 31 Khabraen 81 21 Khaas baat 113 3019. Which Other T.V. channel, do you think can give similar entertainment value? Channel Which of Respondent No. Percentage Provide Star Plus 192 50 Zee T.V. 38 10 Sony T.V. 91 24 Sahara T.V. 63 16 Others 37 10
Interpretation1. Do you like to watch T.V. Programmes? No 3% Yes No Yes 97%Interpretation: 95% of Target Audiances like to watch TV Programmes.
2. Which type of TV set do you have in your home? B/W 11% Color B/W Color 89% Interpretation: 89% audiences have color TV sets.3. What’s the channel you watch most? Others 16% Star TV Star TV 45% Zee TV Sony TV Sony TV Others 27% Zee TV 12% Interpretation: Star TV & Sony TV has highest viewerships.
4. What is the significance of Urdu to you? None Language 4% 11% All Language Culture Culture 32% 24% Identity All Identity None 29% Interpretation: Mostly all the target group consider Urdu as their Language,Culture & Identity.5. Have you seen ETV Urdu? No 10% Yes No Yes 90% Interpretation: People are watching ETV Urdu.
6. Do you get this channel at your home? No 11% Yes No Yes 89% Interpretation: This channel is reaching to the target audiences.7. On Which band, cable operator provide you this channel? Prime Band 18% Dont Know Prime Band 40% S Band Dont Know S Band 42% Interpretation: They get this channel on S-Band.
8. Do you watch regularly ETV Urdu? No 38% Yes No Yes 62% Interpretation:This channel has regular viewers.9. Do you like the ETV Urdu Programmes? No 11% Yes No Yes 89% Interpretation: Audiences like the ETV Programmes.
10. Which is your favorite genre? None 4% Cartoon Family 8% Soap Family Soap Suspense 22% Comedy 16% Thrill/Action Suspense Thrill/Action 12% Comedy Cartoon 38% NoneInterpretation: Comedy and Family soaps are favorite genres.
11. Which Programme you like the most in ETV Urdu. percentage Of Audiance Favorite Programs 3% 0% 5% 3% 6% 31% 8% 9% 17% 18% Aap Ki Pasand Savera Time Pass Giri Bazm-e-Khawateen Auto Stand Hamari Zinath Betiyan/Zohra Mahel/24 Pali Hill Ulti Ginti Quran Khwani Hakimpur.com
12. Why do You like this Programme? All None Presentation 13% 5% Presentation Anchor/Actor 36% Timings Story Story 23% All Timings Anchor/Actor 9% 14% None Interpretation: ETV Pogrammes are accepted due to presentation, Story & Actors/Anchors (e.g. Mr. Jani and Ms Sharaddha Aggrwal for Time Pass Giri and Aap ki Pasand resp.)13. When do you watch this channel? Morning Night 16% 31% Afternoon Morning 10% Afternoon Evening Night Evening 43% Interpretation: Large section of audiences watch this channel at evening hours.
14. Who watch ETV Urdu Programmes in your family other than you? Father Father 10% Mother None Mother 8% 12% Sister/Brother Sister/Broth All Family er Other members 12% 52% All Family Other members 6% None Interpretation: Mostly all family members like to watch this channel. 15. What do you find in ETV Urdu, which you don’t find in other Hindi channels? All None Culture Culture 15% 5% 30% Language Entertainment Knowledge Knowledge 14% Language All Entertainment 22% None 14%Interpretation: Audiences watch this channel to their culture & Language.
16. Suppose the story of your most favorite serial on other channel e.g. Star,Sony.Zee TV etc. are also to be the story of a serial with Urdu speaking characters and telecast simultaneously on ETV Urdu. Which one could you prefer to watch? Other Channel 26% ETV Other Channel ETV 74% Interpretation: Language is the importance factor for acceptance of this channel.17. What do you find missing in this channel? None Quality 17% 16% Quality All Presentation Presentation 9% 11% Popularity Others Others 7% All Popularity None 40% Interpretation: Audiences miss the popularity from this channel.
18. Do you watch the News bulletins? No 23% Yes No Yes 77% Interpretation: News bulletins are accepted.19. Which News bulletins do you like the most? Khabar Khas Baat Nama Khabar Nama 36% 38% Khabrein Khas Baat Khabrein 26% Interpretation: Khabar Nama & Khas Baat are the most favorite bulletins.
20. Which Other T.V. channel, do you think can give similar entertainment value? Others 9% Star plusTV Sahara Star plusTV Zee TV 15% 45% Sony TV Sony TV Sahara 22% Zee TV Others 9% Interpretation: Star Plus Providing the same entetainment value.
Some suggestions and recommendations to make the ETV Urdu more Popular ETV Urdu is the first Urdu TV channel in India. Whereas there are too many newspapers & magazines published in Urdu language. But in Electronic media, it is first. In India,Urdu is so popular that mostly all Hindi speaking people used the Urdu words in their communications.- All other TV channels e.g. Star Plus,Zee TV, Sony TV, etc are the Hindi Channels, But they are not fully Hindi channels. There are too many Urdu serials and Programmes in that channels. So, this channel has to think about how to capture the market shares by popular channels. Some useful suggestions that I have observed in my research. Some Islamic Culture based Programmes in ETV Urdu, e.g. History. Programmes on Sufi Saints. Marriage based Programmes. Improvement in Production Value. Connectivity should be proper. Some Urdu movies also may be telecast. There may be news in Arabic also. In Holi month of Ramdhan,if possible, there should be live telecast of Taravih from Mecca Moazzamma, Saudia Arabia. Avoidance of non-Urdu words in Programmes. Some selected Qawwals should be entertained. Career Programmes also to be telecast.
A Project Report Titled Acceptance of ETV Urdu in Hyderabad & Secunderabad. Done at Ushakiron Television, Ramoji Film City Submitted in Partial fulfillment of the Requirement for the award of MASTER DEGREE in Business Administration (2001-2003)Under the guidance Submitted byDr. H.S. Singh Kalim Ullah Department of Business Management & Entrepreneurship Dr. Ram Manohar Lohia Avadh University, Faizabad,U.P.
Contents Acknowledgement. Company Profile. About Urdu Introduction (Project) Aim & Objectives Questionnaire Types of Research Research Methodology Tabulation & Quantitative Analysis Interpretation Suggestion & Recommendations