This document discusses product placement in Indian reality television shows. It provides background on the growth of the Indian television industry and the rise of reality television shows. Product placement has become an important way for brands to advertise in these popular shows. The author conducted research on product placements in three Indian reality shows - Big Boss season 4, Kaun Banega Crorepati season 4, and MTV Roadies. The paper analyzes the effectiveness of these placements in enhancing brand recall and influencing purchase decisions of audiences.

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“Product placement in reality shows and its
Influence on audience in brand recalls and
Purchase decision in pune city”
By
Vinay pandey, PGP in mass communication
Dissertation
Presented to the Indira School of communication
In Partial Fulfillment
Of the Requirements
For the Degree of
POST GRADUATE PROGRAMME IN MASSCOMMUNICATION
Specialization in Advertising and Public relation

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“Product placement in reality shows and its
Influence on audience in brand recalls and
Purchase decision in pune city”
by
Vinay pandey, PGP in mass communication
Indira School of communication (2009-11)

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Abstract:
Product placement refers to the practice of including a brand name Product, package,
Signage or other trademark merchandise within a motion Picture, television or other
Media vehicles for increasing the memorability of the Brand and for instant recognition
at the point of purchase. Media planners and Brand marketers are looking for alternative
Media vehicles to reach at customers with a distinct message so that the memorability of the
message and hence the Brand name increases. This is a growing trend in Indian television
industry for various reasons. This paper highlights the basic reasons for placing products and
brands in Reality shows with special reference to Indian reality shows and the effectiveness of
these Placements as a tool for enhancing the recall value of the brands in the long run.
This paper proposes a category of placements that can be used by brand Marketers to put their
brands in the films and identifies the caveat for putting the Brands in the reality shows.
This paper suggests about the modality and plot connections in bringing
Congruity in the presentation so that the brand placement does not look out of
Context. The researcher has conducted an experiment with three reality shows namely
Big boss season4, Kaun banega carorpati season 4, and Mtv rodies,
This research paper has implications for both academicians and
practitioners who include the advertising agency people, the media planners,
and the brand managers, the film/television scriptwriters and producers for developing
Strategies to increase the use of product placement as a tool for brand
Communications. The paper also highlights the future research directions in this
area for Indian brand managers and academicians.

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ACKNOWLEDGEMENTS
I would like to acknowledge all of my committee members for their helpful Suggestions
and comments. First, I would like to thank Prof. Prassana Hulikavi for her Direction on this
dissertation. She spent many hours providing comments on earlier drafts of this research.
She always made time for me, and spent countless hours with me in her Office discussing my
project. I would also like to thank Dr. Keval kumar. These committee Members were very
encouraging and Helpful along the process. I would especially like to thank them for their
helpful suggestions during defense meetings. . Finally, I would like to thank my parents who
have been very supportive every step of the way.
Vinay pandey
Indira School of communication (2009-11)

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Contents
Abstract 3
Acknowledgments 4
Chapter1
Introduction
1.1Indiantelevision industry …………………………….7
1.1.1. Background………………………………………………………………8
1.1.2. The Development of Product Placement in reality shows ………... 9
1.1.3. The origins………………………………………………………………10
1.1.4 The mechanism of reality show………………………………………11
1.1.5 Type of reality shows…………………………………………………12
1.1.6 The truth of reality shows…………………………………………...14
1.1.7 Need for regulation and transparency……………………………15
1.1.8 Types of Product Placement in reality show…………………...16
1.1.8 Form of product placement……………………………………..17
2. Statement of problem…………………………………………………...18
3. Objective of study……………………………………………………....18
Chapter 2 Literature Review
2.1 Defining Product Placement ……………………………….………. 19
2.1.1 Product Placement or Brand Placement ………………..………19
2.1.2 Brand Placement or Sponsorships? …………………….……….20
2.2 Consumers’ Attitudes toward Product Placement . . . . . . ………22
2.2.1 Product Placement in Movies ……………………………… …..24
2.2.2 Product Placement in reality show .................................…...25
2.3 The Work on Effectiveness of Product Placement......... ……..26
2.3.1 Memory System………………………………………. …………26
2.3.2 Measuring Effectiveness ……………………………….………28
2.3.3 Effectiveness Studies using Recall …………………….. … ...31
2.3.4 Effectiveness Studies using Recognition……………….……31
2.3.5 Effectiveness Studies using Attitude Change ………….. ….33
2.3.6 Effectiveness Studies using observed Brand Preference …34
2.5 Summary.........................................................................…...35
2.6 Reality show for research
2.6.1: Big boss season…......................................................36
2.6.2: KBC season 4…………………………………………...40

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2.6.3:Mtv rodies …………………………………………..45
3. Methodology……………………………………………47
4. Discussion and analysis ………………………………..48
5. Key findings…………………………………………….58
6. Conclusion………………………………………………59
7. Recommendation………………………………………..61
Appendix1…………………………………………………62
Appendix2…………………………………………………63
References………………………………………………….65

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Chapter 1
Introduction
1.1 Indian television industry
The Indian television industry, consisting of television distribution, advertising and content, has
reported a compounded annual growth rate (CAGR) of ~13.8% over the period 2005-2011
increasing to Rs. 26,550 crore, according to industry estimates. The Indian television
broadcasting industry, comprising television channels, continues to remain an attractive mode of
entertainment because of its reach and penetration. In the current scenario, fragmentation of
viewership ratings and excess capacity are forcing general entertainment channels (GECs) to
incur high content and distribution costs to stay competitive even as fragmentation of
advertisement revenues and the high costs are pushing up the breakeven levels. Launch of reality
shows, despite the high investments required, gaining viewership; broadcasters are depending
on reality shows for channel branding
Overall, competition is expected to keep profitability under strain for most broadcasters,
especially those in the GEC space, over the near to medium term.

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1.1.1Background
The Indian television broadcasting space can be categorised into genres on the basis of the
content telecast and the viewer group targeted. The major genres include the following:
GECs: These feature fiction and non-fiction shows; examples include, among others, Colors, Zee
TV, Sony, Star Plus, and Imagine.
News and infotainment channels: These feature general, business, and regional news; examples
include, among others, CNBC TV18, Zee News, NDTV Profit, and Aaj Tak.
Music channels: These play music videos and host chat shows; examples include, among others,
MTV, Channel V, 9XM, and ETC.
Movie channels: These feature Hindi movies, regional language movies, Hollywood movies, and
others; examples include, among others, Set Max, Zee Cinema, Star Gold, and UTV Movies.
Kids’ channels: These feature cartoons shows, game shows, movies, and other content targeted
at kids; examples include, among others, Cartoon Network, Hungama TV, Pogo, and
Nickelodeon.
Sports channels: These broadcast sporting events (usually live), sports news, and other related
content; examples include, among others, Ten Sports, ESPN, Star Cricket, and Neo Sports.
Specialty or niche channels: These feature content for youth and on subjects like health,
shopping, spirituality, and lifestyle; examples include, among others, Travel & Living, Showbiz,
Home Shop 18, and Aastha TV.
popular reality shows, game shows, talent hunts and mythology. With this array of
programming, there has been a very significant increase in the cost of content over the last two-
three years.

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1.1.2:The Developmentof Product Placementin realityshows
All television channels have one basic aim that of capturing as much of the consumer market as
it can. Consumer preferences dictate a lot of viewer content that is rolled out. The kind of
sitcoms and soaps, the content of shows, is all factored by consumer preferences. Creative and
marketing heads of a channel usually work alongside ensuring that the viewer gets what he
wants and the channel gets to maximize its profits.
So what makes Reality Shows so popular? Here are some basic reasons --
 Reality shows are shown at prime time, between 7-9 pm, which is when the maximum people
turn on their television sets.
 Reality television often has aspirants from the interiors of the country. The very sight of a
person from an obscure place, who has little else other than his talent to bank upon, is
enough to fuel the emotions and imaginations of the people.
 Reality shows give the audience a breather from the run-of-the-mill kind of soaps.
 Reality Shows invariably offer an enormous amount of prize money. The prize sometimes
even entails a contract with a music label or a film production company, like in Zee
Cine Stars Ki Khoj or the most popular show on Indian television, Kaun Banega
Crorepati based on the popular show ‘Who wants to become a Millionaire’.
 Another reason for the popularity of these shows would be the anchor or the host. The host of
these shows would invariably be a popular film actor or singer…any body with a star power
and popularity base that cut across rural and urban India. By roping in Amitabh Bacchan

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and Shah Rukh Khan, Star TV had a winner in their hands even before they got started with
their show.
 They provide a public stage for aspirants to show case their talents. As successful persons
from the field of beauty and entertainment often say when they come to these shows, this kind
of a platform was unavailable till some time back.
 Reality shows pose a win-win situation for every one involved; the contestants, the
production houses and the television channel that airs these shows. It is thus not very
surprising that reality shows are occupying the maximum air space these days.
So people watch Reality Shows because they're fun, they don't require one to think and they're
participatory in more ways than one. A viewer invests as much of his time, emotions and money
(through the votes he sends) as that is invested by the participant. Scripted dramas often have
less of twists and turns as those that happen on reality shows. Hence they are viewed by most
people who enjoy a legally allowed peep into other people’s lives, especially those who happen
to be celebrities.
1.1.4: The Origins
The first reality based show that appeared in the USA was Candid Camera, by Allen Funt. This
show caught unsuspecting people in comic situations. The resultant unguarded responses were
very popular among most people and the genre of reality television was born. Other shows such
as Beat the Clock, Truth or Consequencesalso came up during this time. The popular Miss
America Pageant was also covered live and joined the ranks of immensely popular shows that
were broadcast. These shows were unscripted and gave viewers much more entertainment than
the other serialized dramas that were shown.

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The first reality show that was broadcast in the United Kingdom was in the year 1964. The show,
named Seven Up traced the lives of seven ordinary people who were first interviewed when they
were seven years old. They were then interviewed regularly in the years that were multiples of
seven, that is, at age 14, 21, 28 and so on. There was no plot per se. All the show did was record
responses of the candidates on the show over a certain time frame to understand their
development and growth in terms of maturity and understanding.
The reality shows in the 1970s were mostly family based shows in which they showed families
undergoing various stressful situations. These shows catered to voyeuristic viewers who waited
eagerly to see what the responses of the participants were like. Shows like The American Family,
The Family, and Working class Wilkins Family of Reading did well, albeit with their share of
controversy and ethical arguments.
The reality shows also became popular in the 1990s because there suddenly came a paucity of
drama based shows. The strike called by the Writers Guild of America diminished the quantity of
scipted serials giving rise to reality shows. The series NUMMER 28 that was aired on Dutch
television in 1991 put strangers in a same environment and recorded their reactions. This set
down the formula which reality television was about to follow. This format was followed by
MTV’s The Real World.
In 1997, the Swedish reality show The Survivor introduced the idea of competition and
elimination which has continued to be a much followed format. The Miss World and Miss
Universe paegeants can also be considered reality shows since they did contain all the basic
elements of reality show-aspiring participants, competition, elimination and one triumphant
winner.

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In India the reality based shows caught on with the immensely popular show ‘Indian Idol’. This
was a song based show which attracted scores of aspirants from all corners of the Nation.
Perhaps the most awaited and talked about show was Kaun Banega Crorepati. The lethal
combination of a winning format (it was borrowed from the popular ‘Who wants to be a
Millionaire’ along with the very popular host Amitabh Bacchan and the marketing gimmicks of
Star Television, this was a show that was a trendsetter of sorts. It brought in huge revenues for
the company and catapulted Star TV to the numero uno position.
1.1.5: Mechanisms of a Reality Show
In addition to all the high TRPs why does a channel prefer to air reality shows? The answer lies
in the fact that these shows are money spinning mechanisms that generate a lot of revenue for
the channel. To start with, the basic format of the show requires one to vote for his or her
favourite candidate. The voting can be cast through a text message or SMS or through a phone
call which usually is a special number. These sms’s and phone calls cost much more than their
ordinary counterparts. Television channels have a tie-up with the telephone companies in this
regard and this generates a lot of money. Hence the more the votes, more is the money that
comes in.
In addition advertisers also prefer to air their advertisements during the popular shows and this
again translates to income for the channel. So high votes and ratings mean more advertisers and
more money.

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1.1.6: Types of Reality Shows
Reality Shows can be classified thus:
 Documentary based shows in which the participant is asked to behave naturally in a new
setting while the audience looks at his responses. An example would be Temptation
Island where couple's commitment was tested by keeping them on a deserted island and
surrounding them with single attractive men or women as the case may be. In some shows,
the participant may also be given certain professional tasks. Like in Big Boss, where inmates
of the house were also given weekly tasks to perform. Again there are reality based shows
that put celebrities in a situations and see them going through everyday life. Big Brother is
an example of this as is The Osbournes, the Anna Nicole show. These celebrity based shows
also go by another name;celebreality.
 Elimination or game shows where the participants are required to live in a certain setting
together until all the participants are eliminated one by one. So this is a documentary show
but with a game format. An example would be Fame Gurukul or the very famous Big Brother.
Contestants are eliminated through a system of public voting or through elimination by the
contestants themselves. Talent hunt shows are also very popular and the difference between
these shows and those that are documentary based is the fact the participant does not have to
live together. Elimination rules remain the same. Examples are American Idol and the Indian
counterpart Indian Idol.
There are also reality shows that look for the right candidate for a job. For example, Hells
Kitchen looks for a chef who can intern with Gorden Ramsay. MTV and Channel V have shows
that look for video jockeys or vjs as they are popularly called.

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 Some shows are Fear-centric and put participants through a fearful experience.
 There are also reality shows that give makeovers to participants. This would include
physical appearances, redecorating the home, redoing a single room, redoing a wardrobe,
redoing the décor of a failing premise etc.
 There are also pranks that are played on unsuspecting persons,like Chupa Rustom on the
Indian television), or on entire town ships over an extended period of time like Invasion
Iowa in which an entire town was under the impression that a shooting of a film was under
way.
There are as many varieties of reality shows as there are scripted stories shown on the
television. Popular in their make up, these reality shows are here to stay and the television
channels, in India or across the globe are waking up to this genre that seems to have all the
trappings within a single format.
1.1.7: The Truth about Reality Shows
Reality shows are touted as different from the sitcoms and soap operas that were immensely
popular till sometime back. The difference lies in the unscripted nature of these shows.
Participants are allowed to express themselves freely, whether it is to eliminate some other
contestant or to voice other concerns and emotions. This undiluted exhibition of human emotions
is what appeals to most people leading to the higher TRPs.
The modus operandi of these shows has raised several ethical questions. The main point that is
raised is that do these reality shows really show what these shows really profess to show. Insider
information about these shows has led to startling revelations.

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The reality shows are not entirely scripted. In fact the footage for the entire day is collected and
then edited in a manner so that it follows a definite sequence. Most of the participants, even the
audience is asked to emote in a certain way. Participants, especially in celebrity based shows
are given a certain brief to follow where they have to draw up their character according to a
given set pattern. For example, Kashmera Shah and Rakhi Sawant were told to behave as a
trouble maker and as a clown who goes about amusing people respectively. There are also
romantic liaisons that are built up so that audience interest is kept alive. There is also an
element of envy, competition etc that are added to keep interests on an upward accent. In short
everything about reality shows is not really ‘real’, it’s manipulated, contorted to suit a story line
and emotions are peddled and used with an amazing lack of scruples. A lot of times the winners
fade into oblivion. The emotions that were manipulated often land the participants into a lot of
distress when they go back to where they came from.
On the flip side to these arguments, participants these days know what to expect and sort of steel
themselves for all the ensuing drama. Even then, should we be as an audience ready to give in to
our voyeuristic tendencies so much that it is at the cost of other people and their families?
1.1.8:Need for Regulationsand Transparency
The reality show industry is a market with a huge potential to create wealth and capture the
imagination and emotions of the audience. This industry is estimated to be 100 crores in worth
and this is only expected to grow. In this scenario it is of utmost importance to regulate this
sector so as to mitigate the exploitative potentials and pitfalls that go with an industry having
such characteristics.
 Restructure Content: The first and foremost thing that producers need to do is to regulate
the televised content. The editing table needs to be such that it includes people with an eye on
quality. There is little sense in televising content that borders on vulgarity because after all

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television is a powerful medium with an outreach that far outdoes other forms of
entertainment. What is to be shown and what is to be left out is a crucial decision and there
should be an element of morality in the entire procedure.
 Make selection and elimination procedures transparent: Secondly, critics also point out
that the selection procedures and elimination procedures are often shrouded in controversy.
The most controversial candidate, though not the most talented often remains in the race for
a very long time. The reason for this is very obvious-it brings in revenue. As a show which
seeks out talent, this is definitely one of the points that are hotly debated. Even news channels
have included segments debating this controversy. Like how come Qazi Tauqeer managed to
get the crown in Fame Gurukul? Prashanst Tamang and Dibbendu Barua both got the
coveted prize and the same questions were asked. It is not a coincidence that all these people
belonged to a minority religious group or came from states that are still not considered as
‘mainstream India’.
 Money: Finally the whole aspect of a reality show is about money. Hence it is shrewd
business sense to generate more controversy as it translates to hard cash. All these aspects
are hidden from the consumer that is, the audience. This makes the entire exercise most
‘unreal’ justifying the call to make these shows more transparent. Why have a reality show
that is every bit scripted as the family dramas?
At the end of the day, Reality Shows cheat; connive, blatantly look for ways to bring up their
ratings and certainly do cater to the lowest common denominator -- but they are popular
nonetheless and here to stay.
1.1.9: TYPES OF PRODUCT PLACEMENT
Passive productplacement – A passive product placement is on in which the product is
shown either in the background or in the foreground. The Brand per se is not part of the
storyline or plot.
Active product placement – An active placement is one in which the brand is just not present in
the background or foreground, but the actor touches the product or provides an auditory
mention. There is contextuality in its presence.

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Hyperactive product placement – A hyperactive placement is one in which the brand is not just
present in the show, but the brand ambassadors (or the actors or host) use & refer to it blatantly.
Eg: Pepsi launched its new product Pepsi Cafechino on Sony’s Indian Idol. Its brand
ambassadors Kareena Kapoor & Priyanka Chopra appeared on the show wearing the same
clothes they had worn in the ad. They proceeded to hold the bottle, raise it, refer to it, drink it
and talk about it
The Indian economy continues to perform strongly and one of the key sectors that benefits from
this fast economic growth is the E&M industry. This is because the E&M industry is a cyclical
industry that grows faster when the economy is expanding. It also grows faster than the nominal
GDP during all phases of economic activity due to its income elasticity wherein when incomes
rise, more resources get spent on leisure and entertainment and less on necessities.Further,
consumption spending itself is increasing due to rising disposable incomes on account of
sustained growth in income levels, and this also builds the case for a strong bullish growth in the
sector.The size of E&M in India is currently estimated at INR 353 billion and is expected to grow
at a compounded annual growth rate of 19 percent over the next five years. The television
industry continues to dominate the E&M industry by garnering a share of over 42 percent, which
is expected to increase by a further 9 percent to reach about 51 percent. The share of the film
industry, which currently stands at 19 percent, is not expected to change materially over the next
five years. Print media, which stands at over 31 percent, is projected to lose some of its share in
favour of the emerging segment

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1.1.10: FORMS OF PRODUCT PLACEMENTS
 The most basic form of product placement is the inclusion of a product name or logo in
the foreground or background of a scene.
 Payments are based on exposure, including the number of times the product is shown or
mentioned, the duration of that exposure, and the degree of inclusion of the product in
the story line.
 Sometimes product usage is negotiated rather than paid for.
 Some placements provide productions with below-the-line savings, with products such as
props, clothes and cars being loaned for the production's use, thereby saving them
purchase or rental fees.
 Barter system & service deals are also common examples

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2. STATEMENT OF THE PROBLEM
This research highlights the basic reasons for placing products and brands in reality shows with
special reference to Hindi television reality shows and the influence of these placements as a tool
for enhancing the recall value and purchase decision of the brands in the long run. The problems
associated with people in India have been examined along with its future prospects in the
country.
3. OBJECTIVES OF THE STUDY
 To find out the frequency of watching reality shows among the audience
 To find out the awareness about product placement in a reality shows among the young
Viewers
 To determine whether awareness has influenced the young viewers
 To discuss the pros and cons of a movie producer's decision to associate his/her movie
 With a particular brand/company

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Chapter 2
Literature Review
The aim of this chapter is to analyze the relevant bodies of knowledge, in order
to gain an understanding of what product placement is from an academic point of
view, and to analyze how this form of brand communication is thought to influence
the consumer. It will thereby be identified how effectiveness of product placement
can be measured. Throughout the review, gaps in the current knowledge will be
touched on, both to be able to design a useful experiment for this project and to
recommend future areas of research.
2.1 Defining Product Placement
Before approaching the literature, one needs to understand what exactly is meant by
the term ’product placement’ and be able to identify useful categories that classify
different methods of product placement.
2.1.1 Product Placement or Brand Placement
In one of the first reviews of brand placement, Karrh (1998) argues that although
product placement is the most commonly used description, brand placement would
be more correct. He argues that it is a brand (e.g. Bans) and not a product (e.g.
sunglasses) that is placed.

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Obviously, an underlying assumption for this argument is the belief that
sunglasses are products (and not a category of products) and that it is brands
which are placed (and not a specific branded product). This assumptions has, to
my knowledge, not received criticism in recent papers, but it seems to make just
as much sense to argue that it is a product (e.g. Nokia 7110) and not a brand
(e.g. Nokia) that is placed. Hence, it is difficult to argue which is the most correct
description.
2.1.2 Brand Placement or Sponsorships?
As with many other research areas within the field of management, different words
are used to describe similar things or concepts that somewhat overlap each other.
Product placement contra sponsorships is one example.
According to Schneider (2005), Balasubramanian (1994, pg 31) made one of
the first attempts to define brand placement, as ”a paid product message aimed
at influencing movie (and television) audiences via the planned and unobtrusive
entry of a branded product into a movie (or television program)”. Although this
was a good attempt, there are a number of problems with this definition. Firstly,
it is bounded to specific medias, movie or television programs (Schneider, 2005).
Obviously, the fact that video games, novels, music videos etc. are left out makes
its value fairly limited in today’s media picture. Secondly, it is limited to cases in
which payment is taking place (Schneider, 2005), leaving out the cases we saw in the
introduction, where companies make non-financial deals by, for instance, promoting
each others’ products.

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The problem of limiting brand placement to specific media was also addressed
by Karrh (1998) who also questioned whether brand placements could always be
considered ”unobtrusive”. For those reasons he argued that ”brand placement is
better defined as the paid inclusion of branded product or brand identifiers, through
audio and/or visual means, within mass media programming” (Karrh, 1998, p33).
Again, this definition assumes that payment is always made for the brand placement,
which is only true if payment can also take place without the exchange of money,
e.g. by agreeing mutually advantageous marketing campaigns (Gupta and Gould,
1997; Schneider, 2005).
Sponsorships, on the other hand, have been defined as ”the provision of
assistance, either financial or in kind, to an activity by a commercial organisation
for the purpose of achieving commercial objectives” (Meenaghan, 1983, p9). As
Schneider (2005) points out, this definition fails to include those additional rights
and advantages that the organisation gains in return for its sponsorship. Budweiser
for instance, was the only beer allowed to be sold within a 500 meter radius of the
pitches in Germany during the World Cup 2006 and this advantage was part of the
sponsorship deal between Budweiser and Fifa (Boyes, 2006).
An example of a wider-ranging definition for sponsorship is that provided
by The International Events Group (IEG), which, according to Roy and Cornwell
(2003), is a leading source of sponsorship information. IEG defines sponsorship as
being ”the relationship between a sponsor and a property, in which the sponsor pays
a cash or in-kind fee in return for access to the exploitable commercial potential associated
with the property” (Andrews, 2006, p1). Clearly, this definition includes both

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aspects of a sponsorship, namely the outcome for the sponsored organisation (cash
or in-kind fee) and the benefit for the sponsor (the access to exploitable commercial
potential).
The comparison of the definitions of brand placement to that of sponsorship
seems to reveal that the product placement in video games is brand placement rather
than sponsorship. However, as noted by Schneider (2005), some elements in video
games could be considered to be sponsorship, e.g. the Mastercard billboards in NHL
2.2 Consumers’Attitudestoward Product Placement
Despite the increasing interest in product placement, little is known about how
product placement is viewed by, and influences the customers.
2.2.1 ProductPlacementin Movies
One of the first studies made on the consumers’ view of product placement was
by Nebenzahl and Secunda (1993). This study, which was carried out in the US,
found that the participants, aged 18-34, were fairly positive toward placements, and
preferred such placements to other types of on-the-screen advertisement because
these were seen as more annoying.
Moreover, Nebenzahl and Secunda (1993) found that those who were against
product placement were so for ethical reasons, an observation that Gupta and Gould
(1997) studied in more detail. Gupta and Gould (1997) applied the ethical aspects
to product groups, and found that controversial products such as alcohol, cigarettes
and guns were considered to be less acceptable to place in movies. Gupta and

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Gould (1997) also found that women were more negative toward placements of such
controversial products than men.
The two studies reviewed above only included American respondents. However,
as found by several studies (e.g. McKechnie and Zhou (2003) and Gould,
Gupta, and Grabner-Kruter (2000)), the attitudes change from region to region
according to culture differences.
Gould et al. (2000) noted the lack of focus there had been on product placement
as a global marketing tool, since most studies had been carried out in the
US. To explore whether differences exist between countries, Gould et al. (2000) took
the questionnaire of Gupta and Gould (1997) and distributed it to respondents in
France and Austria. Interestingly, they found that French and Austrians were not
as positive toward product placement as the Americans, but they also found that
the ethical and gender trends found in the U.S. were also present in Europe. That is,
controversial products were relatively less popular than non-controversial products,
and women were generally less positive than men.
The first study that compared consumers’ attitudes in the West to those
in Asia was the one carried out by Karrh, Frith, and Callison (2001). This study
approached college students in Singapore and America in order to compare the attitudes
of the two populations. They found that Singaporean consumers were more
concerned about the ethical aspects of product placement than their American counterparts.
However, both groups of participants admitted equally that their buying
behaviour was influenced by the products they had seen in movies and television.
Similarly, McKechnie and Zhou (2003) compared the attitudes of American

25. 25
consumers to those of Chinese buyers. This study focused on 108 Chinese participants
aged between 18 and 34 and included equal number of males and females The participants saw
movies on a regular basis and the study was therefore comparable
to the similar American studies by Gupta and Gould (1997). This comparison
revealed an interesting difference, namely that the consumers in China were less
positive toward product placement than the customers in the US.
These findings are particularly interesting from a reality shows producer
perspective, since each shows title often targets multiple markets. Moreover, some
of the markets in which consumers are more negative toward product placement are
particularly interesting for the television industry.
The question is, of course, whether it matters what the customers claim they
the think about product placement. For instance, it could be that some customers
say that they are generally against all forms of product placement, while they in
reality buy those products that are commonly placed in movies/ television.

26. 26
2.2.2 ProductPlacementin realityshows
• On television it is often referred to asPRODUCT INTEGRATION.
• This process has to share its advertising space with traditional advertising also known as the
30-second spot.
•The main reason to have product placements on TV is to get maximum coverage.
Axis bank cheques placed prominently in KBC- Active placement
Sony’s DEAL YA NO DEAL featuring CHLORMINT – Active & Passive placement
DIAL ONE AUR JEETO: Passive placement
In this game there is a host of prizes in the form of household goods and jewellery. These brands
get visibility throughout the 20-25 minutes episode. This includes brands like D’Damas, TCL
television, LORD home appliances.
INDIAN IDOL 1 and REJOICE SHAMPOO – Passive placement.
INDIAN IDOL 2 and PEPSI CAFECHINO – Hyper Active placement
L’OREAL on JASSI JASI KOI NAHI – Active placement
DAIRY MILK plugged across five Star Plus serials on New Year's Eve. The CDM pack was
projected as a new year's gift idea with Mrinal Kulkarni of Sonpari and Smriti Irani (Tulsi) of
Kyunki Saas Bhi Kabhi Bahu Thi being shown gifting CDM packs on the occasion. The brand
notched a 10-25 second exposure per serial across all the Star Plus series'.
KODAK moment on Jeena Isi Ka Naam Hai –Passive placement
MTV Roadies is the only program on the channel that shows the sponsor Hero Honda's bikes
throughout the show. During the month of May 2005, Hero Honda announced auditions for Hero
Honda MTV Roadies- 3, a reality show that the company has been associated with for the last

27. 27
two years. : The company sold 2, 26,072 bikes in May 2005.This figure was achieved despite
supply constraints.
2.3:The Potential LinkBetween Beliefsand Reality
Morton and Friedman (2002) published a paper which directly compares consumers’
belief to reported buying behavior, thereby exploring how important consumers’
attitude toward product placement actually is. They found that such a link actually
exists. Their findings support the view that a positive attitude toward a particular
placement can contribute to a selection of that product, whereas a negative attitude
can work against the brand in the decision (Morton and Friedman, 2002).
This result is of significant importance, if it can be generalised to product
placement in video reality shows,
2.4 The Work on Effectiveness of Product Placement
Since product placement is supposed to work unremarkably some may challenge
how important consumers attitude toward product placement is when talking about
effectiveness.
For instance, although Gould et al. (2000) found that people claimed they
would buy the brands shown in movies, this does not prove that they will actually
do so. On the other hand, Heath and Hyder (2006) found that consumers were
affected by adverts to which they claimed they had not been exposed.
As we also noted with consumers’ attitude toward product placement, very
little work has been done in measuring its effectiveness. Some studies have measured

28. 28
the effectiveness through the audience’s memory of brands (Section 2.3.1-2.3.4),
whereas only a few papers have tested the attitude changed by product placements
2.3.1 MemorySystem
The memory system is key to the understanding of the influence that product placements
have on the audience , because research has shown that the memory system strongly
influences buying decisions (Vakratsas and Ambler, 1999).
Before the 1970s, memory was viewed by most researchers as a single system
in which information is first stored in a short-term area, and later copied to a longterm
storage (Daniel L. Schacter and Ochsner, 1993). However, several observations
began to indicate the existence of more than one memory system.
The first of these was done by observing patients who had different kinds of
brain damage. Schacter (1996) observed patients who scored normally high values
in intelligence (the IQ test), but a deficit in showing feelings and emotions, and had
difficulties in making normal everyday decisions outside the research lab. Similarly,
researchers observed amnesic patients who clearly had difficulties at recalling things,
such as people’s name (Schacter, 1996). If these patients were giving a list of words
(e.g.”Product” and”Placement”), and after delay presented a new list and asked to
identify the words they had seen before, the would not be able to do so. However,
if they were given a list with unfinished words (e.g. ”Pr—-t”), after the delay,
they would, without being aware of it, be more likely to guess the word ”Product”
because of the previous exposure, just as a control group of non-amnesic people was
(Schacter, 1996).

29. 29
Other experiments were based on normal subjects, and these supported the
view that more memory systems exist (e.g. Graf, Mandler, and Haden (1982) and
Jacoby and Dallas (1981)). As researchers found more and more evidence of the
existence of two different memory systems, Graf and Schacter (1985) introduced the
distinction between implicit and explicit memory.
When people store information in their explicit memory, they do so consciously,
in the sense that they are aware that they are using it. They do so
intentionally, that is, they choose to pay attention to the information (Law and
Braun-LaTour, 2004). However, people’s implicit memory is accessed without their
knowledge, so they, by definition, do not know from whence this particular knowledge
comes (Schacter, 1996).
2.4.2:MakingDecisions
Early models on decision making saw the influence caused by affect (feelings and
emotions) as something that happened ”postcognitive” (Zajonc, 1980, p151), i.e.
after the cognitive process had taken place (See Figure 2.1). However, Zajonc (1980)
published some of the first experimental results that suggested that this was not the
case, since affect-driven decisions were made faster than cognitive-driven decisions

30. 30
Figure 2.1: An early model for how decisions influenced by feelings and emotions
were believed to be done (Adapted from the ”Typical information-processing model
of affect.”-figure of Zajonc (1980, p153
This observation has also been made in the marketing literature. Shiv and
Fedorikhin (1999), for instance, conducted an experiment in which the participants
individually could choose between a chocolate cake (an affect-driven choice) and a
fruit salad (a more cognitive-driven choice). The chocolate cake was selected much
more often, when the participants had limited time to make up their mind, compared
with a group who had more time to make up their mind (Shiv and Fedorikhin, 1999).
These observations indicate that decisions can be made in different ways,
which perhaps is best shown in the model by Damasio (2003), illustrated in Figure
2.2. Decisions can either be made using route ”A”, a cognitive-driven decision, which
can be said to be cognitive-driven in the way that pure facts are compared using
a reasoning strategy, before the decision is made. Alternatively, decisions can be
made using route ”B”, an affect-driven decision, in which affect plays a central role,
since the decision is either made purely based on emotions or is at least, influenced
by them (Damasio, 2003).
Cognitive-driven decisions mainly use explicit memory, whereas affect-driven
decisions can be influenced by both memory systems (Schacter, 1996). Explicit memory

31. 31
is often tested through recall, in which the participants are asked whether they
remember having seen a particular marketing stimulus (Heath and Nairn, 2005).
Implicit memory, on the other hand, is tested without making use of the participants
conscious recollection of stimulus, e.g. by directly testing participants’ brand
preference, observed behaviour or attitude change toward the communicated brand
(Law and Braun-LaTour, 2004). An alternative test method that uses both explicit
and implicit memory is recognition (Law and Braun-LaTour, 2004), in which people
are asked whether they recognise the marketing stimulus. These answers are then
used to isolate those who have seen the brand communication from those who have
not, and the effect of the marketing stimulus can be then measured by comparing

32. 32
these two groups’ average attitude toward the brand (Heath and Hyder, 2005).
The key, and as yet unanswered question, is which of the methods of measurement
(recall, recognition, attitude change or observed brand preference) best
evaluates the communication of a brand. After all, marketers make the decision as
to where to invest their money, and they obviously want to do use the most effective
method.
2.4.2 MeasuringEffectiveness
Effectiveness can be defined in a number of different ways, depending on the overall
goal of the placement. This fact was noted by Law and Braun (2000, p1059), who
state, ”little is known about its [product placement’s] effectiveness nor even how
to define and measure such effectiveness”. Some researchers (e.g. Nelson (2002))
claim that increasing awareness of a brand can be an important goal of a marketing
campaign and thereby justify their study using memory-based measures (recall
and recognition). Others assert that different types of products can be placed effectively
in different ways. For instance, Law and Braun-LaTour (2004) claim that
recall is a good measurement when the customer is highly involved in the buying
decision, whereas implicit memory tests are more meaningful when the decision is
spontaneous.
Hence, there is no current standard agreement of the”right” measurement
of effectiveness, since it depends on the overall goal. Thus, selecting one view at

33. 33
this point would exclude important research results, and we will therefore review
the work done using each method separately, namely Recall, Recognition, Attitude
Change and Observed Brand Preference.
As for consumer attitudes towards product placement, most research on effectiveness
has focused on movies rather than on reality shows. These studies on
2.4.3 EffectivenessStudiesusing Recall
The first research papers on effectiveness of product placement used recall as the
measurement, but they did not provide a consistent answer on how effective prod-
uct placement is. Stacy Vollmers (1994) (cited in Gupta and Lord (1998)), for
instance, found high recall of brands placed in the two movies investigated. Similar
results were found by d’Astous and Chartier (2000). In contrast, Sabherwal,
Pokrywczyncki, and Griffin (1994) (quoted in Gupta and Lord (1998)) found only
marginally higher levels of recall in their study, in which some participants saw a
movie where a restaurant’s name was mentioned, whereas other saw the exact same
movie, but where the sentence which included the name had been replaced with
silence. This could indicate that auditory placements are not as effective in terms
of recall as visual placements.
However, a broader review of the literature reveals that this is probably not
the case. Generally, cognitive psychology research has shown that modality has
little influence on explicit memory tests (Roediger and Blaxton, 1987). The fact
that Sabherwal et al. (1994) found that a minor effect of the auditory memory is
more likely to be an effect of the product centrality since, as Law and Braun-LaTour

34. 34
(2004) argue, a brand which is both shown and mentioned is usually more central
to the plot compared to one which is only mentioned.
In fact, research has shown that if the marketers’ aim is to gain high recall,
then it is key how central the placement is to the plot (Law and Braun-LaTour,
2004). Gupta and Lord (1998), for example, used two movies, Big and Project X, to
show that a prominent placement of Pepsi in Big led to a higher recall than a subtle
placement of Pepsi in Project X and Pizza Hut in Big. The results were quite clear;
significantly more recalled Pepsi after its central position in Big, compared to the
more subtle placement in Project X, and people did not mention Pizza Hut nearly
as much as Pepsi after watching Big.
These results are interesting from a reality shows prospective, although it is difficult
to predict exactly how these can be adapted. For instance, the concept of centrality
is much more complex in the reality shows environment, because one billboard can
be more central than another. Moreover, the participant can also interact with products
. Additionally, product placements can also be a
part of the winning and losing concept of many reality shows. It is not unlikely
that a product you have to win (e.g. the participant has to win many task to be able
to reach next level in mtv rodies), are more effectively branded than those
that just appear from the beginning. As we will see later, current research in reality show
placements have only looked at centrality in terms of the size or placement of
billboards, but it is questionable whether such a grouping is the most appropriate
for this media. Firstly though, we will look at another way to measure effectiveness,
Namely recognition.

35. 35
2.4.4 EffectivenessStudiesusing Recognition
Hence, it seems that modality is highly important for effectiveness, regardless
of whether it is recall or recognition which is used. However, it does depend on
which of these two measurements is used, to be able to decide whether an auditory
placement is better than a purely visual placement. Law and Braun-LaTour (2004)
argue that it depends on the organizational goal whether recall or recognition should
be used, but argue that visual modality should be preferred if the goal is to exert a
More subtle influence.
2.4.5:Effectiveness Studiesusing AttitudeChange
Although several studies have shown that brands communicated using TV ads can
change consumers’ attitudes (e.g. O’Guinn and Shrum (1997)), very few studies
have tested whether product placements influence the consumers to any extend. In
fact, Russell’s (2002) was the first study to explore this area, and no similar study
has since been published.
Russell (2002) found that maximizing memory scores did not lead to an optimal
level of attitude change. That is, the level of recognition peaked when products
where placed using audio, whereas the attitude toward the brand was changed significantly
more when products were placed visually. This clearly challenges how
useful measurements based on implicit memory tests are when talking about product
placement in reality shows, at least if the overall aim is to change the attitude
toward the branded product.

36. 36
2.5 Summary
Several researchers have explored consumers’ attitudes toward product placement
in movies. Firstly, they have found that consumers were generally positive toward
product placements. Further, it has been shown that different cultures have different
views on placements.
.However, no studies have explored whether the attitudes vary between cultures and
genders, and no studies have investigated the potential link between the attitude
toward product placement in reality shows and the buying habits of those players.
Hence, it could be the case that controversial placements in reality shows influence consumers
equally regardless of whether they like such placements or not. If this is the
case, it could be questioned how important consumers’ views on placements are, at
least from a marketer’s point of view.
Before the studies on effectiveness of product placement were reviewed, the
human brain’s memory function and decision processes were addressed. Through
this, it became clear that no single method of testing effectiveness could be claimed
to be the best, since it would depend on the overall goal of the marketer’s organization
and the type of decisions that organizations’ customers typically made. For
this reason, studies that have used recall, recognition, attitude change or observed
brand preference to test effectiveness were reviewed.
Interestingly, it was found that the type of product placement that appeared
to be most effective was highly dependent on the method used to measure effectiveness.
For instance, in movies, visual placement was shown to be most effective
when recall measures were used, but audio placement was more effective in terms

37. 37
of recognition. Moreover, studies using attitude change reported that the highest
attitude change was made when products were placed visually. Unfortunately, no
studies have explored whether visual and audio placements are most effective in
terms of observed brand preference.
2.6:REALITY SHOW FOR RESEARCH—
2.6.1:“BIG BOSS SESSION 4”
BIGG BOSS
Bigg Boss Season 4 title card
Format Reality
Country of
origin
India
Language(s) Hindi
No. of series 4
Production
Producer(s) Endemol India
Running time Approx. 45-60 minutes (without commercial
breaks)
Broadcast

38. 38
Original
channel
Sony India (Season 1)
Colors channel (Season 2-)
Picture format 480i (SDTV) (2006-present)
Original run 3 November 2006 – present
Status Ongoing
Big Boss is a popular reality TV programme broadcast in India. It follows the Big
Brother format, which was first developed by Endemolin the Netherlands.
Concept
Bigg Boss is a reality show where celebrity contestants stay in a single house for about three
months, with no connection to the outside world. They are overseen by a mysterious person
known as 'Bigg Boss', whose only presence in the house is through his voice.[3]
The House
A Bigg Boss House is built for every season. The house is located in the tourist place of
Lonavala, Pune district of Maharashtra. The house is well-furnished and decorated. It has all
kinds of modern amenities, but just one or two bedrooms and four toilet cum bath rooms. There
is a garden, pool, activity area and gym in the House. There is also a Confession Room, where
the housemates may be called in by Bigg Boss for any kind of conversation, and for the
The House has no TV connection, no phones, no Internet connection, clocks, pen or paper.
Rules
While all the rules have never been told to the audience, the most prominent ones are clearly
seen. The inmates are not permitted to talk in any other language than Hindi. They are not

39. 39
supposed to tamper with any of the electronic equipment or any other thing in the House. They
cannot leave the House at any time except when permitted to. They cannot discuss the
nomination process with anyone.
Nomination and Eviction
Every week, each contestant is called into the 'Confession Room' by Bigg Boss, and are asked to
nominate two of the other contestants. Bigg Boss selects two, and sometimes three (though the
number goes higher at times) people with the highest votes, who are put up for a public vote via
phone and text message. The one with the least votes is evicted on Friday. Occasionally, more
than one person may be evicted at a time, like in the final episode.
Sometimes, the housemates may be nominated for other reasons, such as nomination by a person
who has achieved special privileges (via tasks or other things), for breaking rules or something
else. If something is very serious, a contestant may be evicted directly.
Publication
The main television coverage takes the form of a daily highlights programme and the weekly
eviction show on Fridays that are aired on Colors TV, while the first season was aired on Sony
TV. Everyday's episodes contain the main happenings of the previous day. Every Saturday
episode mainly focuses on an interview of the evicted contestant by the host. The episode on
Sunday, named differently across seasons, contains extra footage of the week, which was not
included in any episode.

40. 40
Series details
Series Presenter Launch date Finale date Days Housemates Winner
Season
1
Arshad Warsi
3 November
2006
26 January
2007
86 15 Rahul Roy
Season
2
Shilpa Shetty 17 August 2008
22 November
2008
98 15
Ashutosh
Kaushik
Season
3
Amitabh
Bachchan
4 October 2009
26 December
2009
84 15
Vindu Dara
Singh
Season
4
Salman Khan 3 October 2010 8 January 2011 96 16 Shweta Tiwari
 Series 5 is set to air in late 2011 with the possibility of Salman Khan returning to host
Every week, one person would be announced by the Bigg Boss as the Captain of the House. He
will receive all the facilities, such as living in the Elite Bedroom, Exemption from nominations
for that week, Right to nominate one person in the house who will be directly nominated for that
week regardless of the other members nominations. Other members will have to wash his/her
clothes, vessels, cook food for him, etc. He/She will be the king of the house for that week. This is
similar to the Head of Household position in other Big Brother series around the world.
Elite Bedroom
This is the new feature added to Bigg Boss 4. Elite Bedroom is a big room inside the common
bedroom. Where all the members will live in the common room, only The captain of the House

41. 41
will have access to this room and will get a key for this room to keep his/her stuff and lock it.
This is similar to the Head of Household room in other Big Brother’s around the world.
2.6.2: REALITY SHOW FOR RESEARCH—“KAUN BANEGA CARORPATI SEASON 4”
Kaun Banega Crorepati (popularly known as KBC) is an Indian reality/game show based on
the UK game show Who Wants to Be a Millionaire? which offers a maximum cash prize of £1
million. This version's title literally translates to "Who will be a ten-millionaire?". The show first
aired in 2000 and was hosted by Amitabh Bachchan. This was the first appearance of Bachchan
on Indian television. The show was hugely popular in India.
On August 5, 2005, the show was restarted after a four-year hiatus, and renamed Kaun Banega
Crorepati Dwitiya (Kaun Banega Crorepati the Second, or KBC2) in which the final prize
amount was doubled to 2 crore rupees. It was abruptly ended by STAR Plus after the host
Amitabh Bachchan fell ill in 2006. Mr Bachchan had shot 61 of the 85 episodes when he fell ill.
He announced he would return after he recovered, but when his health prevented him filming the
remaining 24 episodes, Star TV took the decision to axe it.
Star Television roped in Shahrukh Khan to host the third season of the show. Khan was at peak
of his career then and was considered an ideal replacement for Amitabh Bachchan as the host of
the show. The grand prize amount of 2 crore rupees (approx. $430,000 USD) was still used in
KBC3. The third season of the show began airing on January 22, 2007. But all the hysteria
receded soon after and its TRP went down. The third season did not receive good reviews from
audiences. The show ended on April 19, 2007 with a special finale. The key sponsors of the third
season were AirTel, Unit Trust of India (UTI Mutual Funds) and ITC Limited.

42. 42
The fourth season (called KBC4) was hosted by Amitabh Bachchan and started on October 11,
2010, on Bachchan's 68th birthday. According to online news sources, over five million (50
Lakh) people participated in KBC 4 auditions. The prize money was decreased to 1 crore,
however a jackpot question for 5 crore (approx. USD 1 million) was added. The fourth season
of the show was highly successful due to the return of former host Amitabh Bachhan.[3] The
season ended on 9 December 2010.
Rules
As in the UK version, the contestants must undergo an initial round of "Fastest Finger First", in
which the host introduces the ten contestants of the episode and asks them all the same question.
The contestants must then arrange the answers in the order described in the question. The
contestant that places the four options in the correct order in the fastest time gets the chance to
go on the "hotseat".
All contestants must be over the age of 18 and a citizen of India in order to be eligible. The
person must not be a former "Kaun Banega Crorepati" contestant and, as defined in the Income
Tax Act, 1961 must also be a resident of India.
At the hotseat, the contestant is asked a series of general knowledge questions consistently rising
in difficulty with every question. Each question has four options with only one correct answer.
The contestant wins a certain amount of money with each correct answer, and may choose to
give up and retain the money they have already won if they decide not to answer the currently
shown question.
The money won after each question is roughly doubled from the previous amount won,
exponentially increasing the amount won after each correct answer until the contestant reaches

43. 43
the final question, after which they win the maximum prize (currently 5 crores in KBC 4). The
current sequence of prize amounts on KBC is as follows (Western digit grouping in parentheses):
KBC 4
There will be only 13 questions with the following money values.
No. Right Answer Value Missed Answer Value Walk Away Value Wrong Answer Loss
1 5,000 0 0 0
2 10,000 0 5,000 5,000
3 20,000 10,000 10,000 10,000
4 40,000 10,000 20,000 10,000
5 80,000 10,000 40,000 30,000
6 1,60,000 (160,000) 10,000 80,000 70,000
7 3,20,000 (320,000) 10,000 1,60,000 1,50,000
8 6,40,000 (640,000) 3,20,000 3,20,000 3,20,000
9 12,50,000 (1,250,000) 3,20,000 6,40,000 3,20,000
10 25,00,000 (2,500,000) 3,20,000 12,50,000 9,30,000
11 50,00,000 (5,000,000) 3,20,000 25,00,000 21,80,000

44. 44
12 1,00,00,000 (10,000,000) 3,20,000 50,00,000 46,80,000
13 5,00,00,000 (50,000,000) 3,20,000 1,00,00,000 96,80,000
Lifelines
A contestant can use a lifeline when he/she is undecided about which answer is correct. A lifeline
can only be used once. The current lifelines in KBC4 are the same as KBC3 with the only
difference being the "Fifty-Fifty" lifeline replaced by "Double Dip" and "Flip The Question"
lifeline replaced by "Expert Advice".
 Audience Poll: If the contestant uses this lifeline, it will result in the host repeating the
question to the audience. The studio audience get 10 seconds to answer the question.
Audience members use touch pads to designate what they believe the correct answer to be.
After the audience have chosen their choices, the results are displayed to the contestant in
percentages in bar-graph format and also shown on the monitors screens of the host and
contestant, as well as the TV viewers.
 Phone a Friend: If the contestant uses this lifeline, the contestant is allowed to call one of
the three pre-arranged friends, who all have to provide their phone numbers in advance. The
host usually starts off by talking to the contestant's friend and introduces him/her to the
viewers. After the introduction, the host hands the phone call over to the contestant who then
immediately has 30 seconds to ask and hope for a reply from their friend.
 Ask an Expert: This lifeline allows the contestant to ask an expert via live face-to-face audio
and video connection. The expert could be anyone from a celebrity to a previous Millionaire
contestant. Ask the Expert is available throughout the game. There is no set time limit, and
the contestant and expert are allowed to discuss the question.
 Double Dip: This lifeline allows the contestant to make two guesses at a question. This
lifeline is available after the contestant correctly answers the seventh question. A second
incorrect answer results in a loss and the contestant's winnings dropping back down to the
last milestone achieved. This lifeline differs from others in that - once the player has chosen
to use this lifeline, he/she has to answer the question. There's no way the player can leave the
seat without answering the question.

45. 45
Former lifelines
 Fifty-Fifty (50/50): If the contestant uses this lifeline, the host will ask the computer to
randomly remove and eliminate two of the "wrong" answers. This will leave one right answer
and one wrong answer, resulting in a situation of eliminating 50% of the choices as well as
having a 50% chance of getting the answer right if the contestant is in a situation of making
a guess. In 2010, 50/50 was replaced by Double Dip.
 Flip the Question: The contestant earned this lifeline upon answering the fifth question. The
computer replaced, at the contestant's request, one question with another of the same
monetary value. Any lifelines used on the original question prior to the switching were not
reinstated.
The fourth season
Amitabh Bachchan was roped in once again to host the fourth season in 2010. The show was
shifted from Star Plus to Sony Television, but the faces behind the curtain will be the same such
as Siddhartha Basu remains the director and creative head. The new logo designed for the fourth
season incorporated the new Indian Rupee symbol, which was unveiled the same year. The
phone lines for the fourth season opened on August 2, 2010 at 9 PM (IST).[5] Sony TV announced
that the fourth season will go on air from October 11, 2010; which also happens to be
Bachchan's birthday.
The Indian version adopted the clock format from the US version and is the fourth country's
version to do (the others being Japan and the UK; although the US version no longer uses the
clock), although the time limits were more similar to the UK version. There was a 30-second
time limit for questions 1 and 2, and a 45 second time limit for questions 3–6, but questions 7–13
were not timed.[6][7]
The clock stops whenever a lifeline is used. There were four lifelines: Ask the
Audience and Phone a Friend will make a return, along with the addition of two new
lifelines Ask the Expertand Double Dip. The show finished on December 9, 2010.
Winners
So far, there have been a few notable winners of KBC that have left with an amount of
1,00,00,000 or 1 Crore:
 Harshvardhan Nawathe — 1st winner of KBC in 2000.

46. 46
 Ravi Saini — Winner of the equally popular series KBC Junior ( 1,00,00,000) that featured
children under the age of 18 as contestants in 2001.
 Vijay and Arundhati Raul — Winner of KBC Jodi ( 1,00,00,000) in 2001.[8]
 Ajay Devgan and Kajol — Winner of 1,00,00,000 in 2005.
 Brajesh Dubey — Winner of KBC 2 leaving with 1,00,00,000 when the top prize was
2,00,00,000.
 Rahat Taslim — Winner of 1 crore in Season 4. She quit at the jackpot question (for 5
crore).
Phraseology
Since its launch in the year 2000, KBC has inspired thousands with Amitabh's catchy phrases
like "Lock kiya jaye?" which has been used in the media a countless number of times, an example
being in the 2001 film Nayak: The Real Hero starring Anil Kapoor and Rani Mukerji. With the
new series that is hosted by Shahrukh Khan, wordage such as "Lock kiya jaye?"have been
changed to "Freeze it!". Additional expressions have been introduced in KBC3 like "Kuch
sawaal aapki zindagi badal sakte hain!" which is the official motto of the third season
and "Kachcha Kachcha? Pakka Pakka?" that figuratively means "Are you sure or are you not
sure?". "Tez Teekha Tabadtor" as well as "Koi Sawaal Chota Nahi Hota" in the current season
have become immensely popular.
The show plays a major role in the movie Slumdog Millionaire, with Anil Kapoor playing Prem
Kumar, the game show host though Shah Rukh Khan was asked to play). The movie is an
adaptation of the Vikas Swarup novel Q & A (although the novel depicted a fictional quiz show
called Who Will Win a Billion?), and is also loosely connected to a real-life cheating incident on
the UK version of the show.
2.6.3: REALITY SHOW FOR RESEARCH—“MTV RODIES”
MTV Roadies is a youth-based popular reality television show on MTV India.
When asked about the show, executive producer Raghu Ram said, "Roadies has travel,
adventure, drama, touch of voyeurism..."
Format

47. 47
The selected Roadies are provided with Karizma bikes to travel on a pre-decided route. Each
episode features a vote-out at the end in which the Roadies eliminate one of their fellow Roadies
by an anonymous vote, thereby decreasing the number of Roadies carrying on with the journey.
However there are some episodes in which the eliminated one gets immune and he gets to choose
who will get eliminated. It is an adaptation of the British reality show Survivor. Each episode
consists of number of tasks or challenges which the Roadies have to perform. These can be either
"Money tasks" or "Immunity tasks". By successfully completing the "Money tasks", the Roadies
add cash to their account while in "Immunity tasks", the team or roadie which wins
gets Immunity. Such a team or roadie is safe from vote-out i.e its members cannot be voted-out in
that particular episode. The tasks are either team-based or individual-based. The Roadie who
survives till the end is declared the winner and walks away with the total cash accumulated by
performing the money tasks.
The fifth season was the first time when an Advantage task was introduced. The winner of the
Advantage task gets some advantage in the vote out, which may include multiple votes or being
the only one(s) to vote.
The Indian version of the show is based on the original MTV reality show Road Rules which
started in the year 1995.

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3. METHODOLOGY
A Sample size of 120 students is considered as the ample size for the study with 70
Number of males and 50 females. The data is collected using structured questionnaire.
Judgment sampling is adopted for collecting the sample elements. The data analysis is
Interpreted with the help of statistical tools.
For the research, we have taken three reality shows big boss session4, kaun banega carorpati
session 4 and mtv rodies. In the big boss, we have considered one product Vodafone for the
Research. While in kaun banega carorpati axis bank has been taken into consideration. All three
reality shows are highest TRP gainer in television industry.

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4. DISCUSSION AND ANALYSIS
Table No.4.1: Gender wise analysis for frequency of watching reality shows in a month.
Gender/
frequency
None Once Twice thrice more total
male 2 12 9 22 25 70
Female 5 5 8 5 27 50
Total 7 19 17 27 47 120
The above table no. 1.1 highlights that 35.7% male & 38.5% female watch reality shows more
than thrice .44.2%male & 26% female watch reality shows more than once in a month.
3% 17%
13%
31%
36%
Male
None Once Twice Thrice More
10% 10%
16%
10%
54%
female
None Once Twice Thrice More
6% 16%
15%
23%
40%
Total
None Once Twice Thrice More

50. 50
Table No.4.2: Analysis of awareness about product placement in big boss session 4.
Gender/frequency Yes No total
Male 62 08 70
Female 42 08 50
Total 104 16 120
Awareness about product placement in the reality show bigboss4 is 88.5% in case of male while
in case of female it is 84%., high level of product awareness among male and female in pune
city.
89%
11%
Male
Yes No
84%
16%
Female
Yes No
87%
13%
Total
Yes No

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Table No.4.3: Analysis of awareness about product placement in kaun banega carorpati
season 4.
Gender/frequency Yes No total
Male 60 10 70
Female 37 13 50
Total 105 15 120
Awareness about product placement in the reality show kbc4 is 85.75 in case of male while in
case of female it is 74%. Overall 87.5 youth are aware about the product placement in kbc4.
86%
14%
male
yes
no
74%
26%
female
yes
no
87%
13%
total
yes
no

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Table 4.4 Analysis of awareness about product placement in mtv rodies
Gender/frequency Yes No total
Male 70 0 70
Female 46 O4 50
Total 116 04 120
Awareness about product placement in the reality show is 100% in case of male while in case of
female it is 92%, it is shown that high recall of product in reality shows which is youth oriented.
100%
0%
male
yes no
92%
8%
female
yes
no
97%
3%
total
yes
no

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Table No.4.5: Analysis of product recall in big boss season4 i.e. [Vodafone]
Gender/frequency
total
Right wrong No idea total
Male 42 20 08 70
female 23 19 08 50
total 65 39 16 120
Analysis show’s that right product recall for vodafone in the bigboss is 60% in case of male
while in case of female it is 46% only.
60%
29%
11%
male
right wrong no idea
46%
38%
16%
female
right wrong no idea
right
54%
wrong
33%
no idea
13%
total

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Table No.4.6: Analysis of product recall in Kaun banega carorpati season 4 i.e. [ axis bank
]
Gender/frequency
total
Right wrong No idea total
Male 41 19 10 70
female 23 19 08 50
total 65 39 16 120
Analysis show’s that right product recall for axis bank in the kbc is 60% in case of male while in
case of female it is 46% only
60%
29%
11%
male
right wrong no idea
46%
38%
16%
female
right wrong no idea
46%
38%
16%
Total
right wrong no idea

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Table No.4.7: Analysis of product recall in Mtv rodies i.e.[ hero Honda karizma ]
Gender/frequency
total
Right wrong No idea total
Male 70 0 00 70
female 43 06 01 50
total 113 06 01 120
Analysis show’s that right product recall for hero Honda karizma in the rodies is 100% in case
of male while in case of female it is 86% only,It shows that youth oriented shows are very famous
in male as well as female, they have very Higher level of product recall.
100%
0%0%
male
right wrong no idea
86%
12% 2%
female
right wrong no idea
94%
5%1%
total
right wrong no idea

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Table No.4.8: To influence the audience by including brand-placement product
In their reality show is unethical.
Gender/frequency Strongly
agree
Agree Disagree Strongly
disagree
total
male 08 16 32 14 70
female 12 10 08 20 50
total 20 26 40 34 120
11%
23%
46%
20%
male
srongly agree agree
disagree strongly disagree
17%
22%
33%
28%
female
stronglyagree agree
disagree strongly disagree
17%
22%
33%
28%
total
strongly agree agree disagree stronglydisagree

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Analysis show’s that 65.71% male disagree with the statement that stat influence the audienceby
including brand-name product in their movies is unethical while 56% female find it ethical
No.4.9: The fact that you saw a celebrity on a reality show using a specific brand will make
you choose and purchase the “famous” brand?
yes
36%
no
26%
depend
38%
male
yes
40%
no
16%
depend
44%
female
Gender/frequency YES NO Depend on
other
factor
total
Male 25 18 27 70
Female 20 08 22 50
total 45 26 49 120

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As per the analysis, 35.71% male purchase the brand placed in the reality shows while 38.57%
take other factors into consideration before purchase decision.
And 40% female purchase the brand placed in the reality shows while 44% take other factors
into consideration before purchase decision.
yes
37%
no
22%
depend
41%
TOTAL

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5. FINDING OF THE STUDY
The major findings of the study are as follows;
 35.7% male & 38.5% female watch reality shows more than thrice.
44.2%male & 26% female watch reality shows more than once in a month.
 Awareness about product placement in the reality show big 4 is 88.5% in case of male
while in case of female it is 84%.
 Awareness about product placement in the reality show kbc4 is 85.75 in case of male
while in case of female it is 74%.
 Analysis shows that right product recall for Vodafone in the reality show big boss season
4 is 60% in case of male while in case of female it is 46% only
 Analysis shows that right product recall for axis bank in the reality show kaun banega
carorpati season4 is 58.57% in case of male while in case of female it is 44% only.
 Analysis shows that right product recall for hero Honda karizma in the Mtv rodies is
100% in case of male while in case of female it is 92%.
 Analysis shows that 65.71% male disagree with the statement that stat influence the
Audience by including brand-name product in their movies is unethical while 56%
Female find it ethical.
 35.71% male purchase the brand placed in the reality shows while 38.57% take other
factors into consideration before purchase decision.
 40% female purchase the brand placed in the reality shows while 44% take other factors
into Consideration before purchase decision.

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6. CONCLUSION
The study has focused on the awareness of product placement in reality shows among youngster
in Pune. There is a very good awareness among viewer in Pune. The results show that viewers
were generally positive about product placement in reality shows. We find that product
placements in reality shows are effective. The high recall, recognition and positive attitude
scores suggest that brand managers seriously look at product placements in reality show as a
new vehicle for reaching to customers. The large range of responses suggests that the type of
product placement is significant, irrespective of the brand being well known or lesser known.
With the growth of professionalism in Indian television and the growing need for less cluttered
communication channels, we feel that product placements can emerge as a strong vehicle
to communicate to the vast television-viewing population in India.
The practice of product placements in Indian reality shows is still based on gut feeling.
This study suggests that brand managers use a more objective framework for placing and
evaluating product placements. Steortz (1987) indicates that product placements can be
considered successful if a minimum of 20% of the population is aware of the identity of
the brand. Even adjusting for the variation in education and attentiveness of our sample
compared to the majority of audiences,
However, a number of issues need to be kept in mind. Relevance of product to the
situation needs to be created: this is possible by incorporating the placement planning at a
script level, as practised by the US film industry. (Turcotte 2002). Respondents expressed
concern about the lack of good creative execution. The manager also needs to guard
against clutter in scenes: other competing products in the product category should not be

61. 61
Incorporated. As success of product placements is dependent on the success of the reality show
and consequently, its reach, it is not possible to evaluate placements from a sales-generation
perspective.
The monetary terms of product placements have not been studied, as data on this
was not considered credible. Payments for product placements need to be linked with
effectiveness. With the growth of professionalism in Indian television and the growing need
for less cluttered communication channels, we feel that product placements can emerge
as a strong vehicle to communicate to the vast reality show-viewing population in India.

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7. RECOMMENDATION
The increasing use of product placements in other media like television, books, regional
language films and computer games might also be studied, as can long-term memory of
product placements. However, a number of issues need to be kept in mind. Relevance of
product to the situation needs to be created: this is possible by incorporating the placement
planning at a script level. The high failure rate of movies in India mean that managers are ill
equipped to predetermine if audiences will convert negative attitudes about the movie into
negative attitude towards the brand. As success of product placements is dependent on the
success of the movie and consequently, its reach, it is not possible to evaluate placements
from a sales-generation perspective.

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APPENDIX I
REALITY SHOWS USED IN THE STUDY WITH RESPECTIVE PRODUCT
PLACEMENTS
Reality shows Product Situation
Big Boss season 4 Vodafone Salman Khan as host is being
Sponsored by India’s second biggest
Mobile service provider Vodafone.
Vodafone zoozoo placed inside the house
Kaun banega carorpati axis bank after winning minimum 3.20 lack host of
show amitabh bacchan sign axis bank check
Mtv rodies Hero Honda karizma player do there task in hero honda
karizma motorcycle

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Appendix2
QUESTIONNAIRE
“PRODUCT PLACEMENT IN REALITY SHOW AND IT‟S INFLUENCE ON
AUDIENCE IN BRAND RECALL AND PURCHASE DECISION IN PUNE CITY”
1. How many times during a month do you watch reality shows?
a) Once b) twice c) thrice d) more
2. Was there any product placed in the Big Boss season 4?
a) Yes b) no
3. Was there any product placed in the Kaun Banega karorpati season 4?
a) Yes b) no
4. Was there any product placed in the Mtv Rodies?
a) Yes b) no
5. From the product listed below, please select another product shown in the.
Big boss session 4 –
a) IDEA b) AIRTEL c) Vodafone d) NONE
6. From the product listed below, please select one product shown in the.
Kaun Banega Carorpati session 4.
a) Axis bank b) ICICI bank c) standard chartered bank d) none
7. From the product listed below, please select one product shown in the movie.
Mtv Rodies.
a) Bajaj pulsar b) Hero Honda karizma c) Yamaha fz d) Suzuki

65. 65
Please answer the following question by indicating your opinion.
8 I think it is unethical for reality show producers to attempt to influence the audience by
including brand-name product in their shows?
a) Strongly agree b) Agree c) Disagree d) Strongly disagree
9. You are in the supermarket, trying to choose a brand from a selection. The fact
That you saw a celebrity on a Movie/ reality show using a specific brand will make you
choose And purchase the “famous” brand?
a) Yes b) no c) other factor
Name -: _______________________________________
Age -: _______________ Gender-: ______________
Education -: _______________ Occupation ______________
Contact no.-: _______________ E-mail-: ______________
Thanks.

66. 66
References:
1) Andrews, J., 2006. Ieg glossary and lexicon.
http://www.sponsorship.com/learn/glossary
2.http://www.livemint.com/2007/09/19004706/Reality-shows-are-good-for-bra.html
4) Kotler Phillip & Keller Kevin Lane, “Marketing Management”,11e 2003.P 308
5) Kotler Phillip & Keller Kevin Lane, “Marketing Management”,12e, 2006
6) Panda K. Tapan, Effectiveness of Product Placement in Indian Films and its Effects on
Brand Memory and Attitude With Special Reference to Hindi Films.
7) http://en.wikipedia.org/wiki/Product_placement
8) Gupta, Pola B and Kenneth R Lord, Product Placements in Movies: The Effect of
Prominence and Mode on Audience Recall, Journal of Current Issues and Research in
Advertising, 20, 47-59,1998
9) http://www.campaignindia.in/Tools/Print.aspx?CIID=250811
10.http://www.pwc.com/en_IN/in/assets/pdfs/ficci-pwc-indian-entertainment-and-media-
industry.pdf
11. http://en.wikipedia.org/wiki/Bigg_Boss_(season_4)
12. http://en.wikipedia.org/wiki/MTV_Roadies
13.http://en.wikipedia.org/wiki/Kaun_Banega_Crorepati
14.http://www.nordicom.gu.se/common/publ_pdf/264_herkman.pdf
15. http://articles.timesofindia.indiatimes.com/2009-12-26/tv/28078248_1_reality-tv-tv-ads-advertisers