Viacom18 backed the movie 'Manjunath' because it told a meaningful story about a whistleblower standing up against corruption in a way that held a mirror to society. It was based on the true story of a man from a typical Indian family who got an important job but had the courage to blow the whistle, showing the deep corruption in Indian society. Backing such meaningful films fits with Viacom18's values of doing business with integrity and innovation. To make more films that highlight real role models, it is important to open up to diverse stories, make films on tighter budgets, find a balance between message and entertainment by adding some star power, give films longer runs through dynamic pricing, and experiment with non
IIM LUCKNOW’S MANJUNATH SHANMUGAM: PURPOSE-DRIVEN PERSONALITY AND THE VALUE O...etcases
Viacom18 backed the movie 'Manjunath: Idiot tha Saala' because it told a meaningful and impactful story about a whistleblower standing up against corruption in a way that held a mirror to society and the business world. They saw potential in the film to challenge viewers and push boundaries. Their history of backing innovative, theme-driven films and their internal values of integrity in business also aligned with supporting such a movie. However, backing films with social messages remains challenging commercially. To encourage more films that bring real role models to light, the film industry needs changes across the entire ecosystem to embrace more diverse stories, control costs, find a balance between message and entertainment, support varied pricing and longevity in
Equity to Well Being Newsletter 3 Cinema for Change.pdfPraful Baweja
This newsletter discusses how cinema can inspire social change. It provides examples of Indian filmmakers like Guneet Monga, Ekta Kapoor, and Sudha Kongara Prasad whose work brings diverse stories and perspectives to the forefront. Their films have addressed issues like gender, caste, class, sexuality, and more. Short films and web series by Indian LGBTQIA+ filmmakers that depict authentic LGBTQIA+ lives are also recommended. In conclusion, it is noted that films can create empathy, awareness, and small impacts that contribute to positive change.
Sasha Production House is launching a new biographical film titled "Painting Hussain" about the life of Indian artist M.F. Hussain. The film aims to portray Hussain's childhood, career and the controversies surrounding him. It is targeted towards an artistic niche market and those interested in Hussain. The film will debut in India and international film festivals. Market research was conducted to select this biographical story over others considered. While biopics have generally not done well financially in India, this film may find greater success internationally given Hussain's fame abroad and sympathetic Western audiences.
The document discusses the student's media production project for a thriller film. It analyzes how the production used and challenged conventions of real thriller films through techniques like eerie music, grayscale footage, slow motion, flashbacks showing past and present. It also discusses how the production represented various social groups through the main character and his behaviors in different settings. Finally, it reflects on what was learned about film technologies and production through creating this project.
The document summarizes the opening sequence of a thriller film called "The Decoy". It discusses several aspects of creating the sequence, including challenging conventions, avoiding cliches, building tension without revealing plot details, and following conventions of the spy/thriller genre. Technology use and lessons learned are also summarized. The production team wanted the sequence to suggest modern issues and get questions from audiences that would be answered later in the film.
The document summarizes feedback received from an audience on a short film called "Eighteen". The feedback was gathered through a survey with questions about how well the film represented its target audience of young women, what viewers liked about the film, and how it could be improved. Viewers generally agreed the film appealed to its target demographic and enjoyed the poetic narration. Suggested improvements included adding background music and exploring social media pressures. Viewers also felt the film effectively conveyed messages about female issues and liberation through its use of montage structure and symbolic mise-en-scene elements.
Mannequin D Essayage. Online assignment writing service.Amy Colantuoni
The document provides instructions for creating an account and submitting assignment requests on the HelpWriting.net website. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete a form with assignment details, sources, and deadline. 3) Writers will bid on the request and the customer can choose a writer. 4) The customer will receive the paper and can request revisions if needed. 5) HelpWriting.net guarantees original, high-quality content and refunds for plagiarized work.
Priyanka Chawla evaluated her group's psychological thriller media product titled "Chance." She found that it closely followed the codes and conventions of the genre but challenged some, like not using a black and white filter. Through research, Priyanka became familiar with audience expectations. She represented typical stereotypes like dominant male characters and analyzed how editing, sound, mise-en-scene, and more enhanced this. Priyanka believed Warner Bros. would be a good distributor due to similar thrillers they have released. Through surveys, she found the target audience was males 15 and over. Priyanka attracted the audience through an unusual female protagonist, the title, and familiar conventions. She learned filming, editing, and
IIM LUCKNOW’S MANJUNATH SHANMUGAM: PURPOSE-DRIVEN PERSONALITY AND THE VALUE O...etcases
Viacom18 backed the movie 'Manjunath: Idiot tha Saala' because it told a meaningful and impactful story about a whistleblower standing up against corruption in a way that held a mirror to society and the business world. They saw potential in the film to challenge viewers and push boundaries. Their history of backing innovative, theme-driven films and their internal values of integrity in business also aligned with supporting such a movie. However, backing films with social messages remains challenging commercially. To encourage more films that bring real role models to light, the film industry needs changes across the entire ecosystem to embrace more diverse stories, control costs, find a balance between message and entertainment, support varied pricing and longevity in
Equity to Well Being Newsletter 3 Cinema for Change.pdfPraful Baweja
This newsletter discusses how cinema can inspire social change. It provides examples of Indian filmmakers like Guneet Monga, Ekta Kapoor, and Sudha Kongara Prasad whose work brings diverse stories and perspectives to the forefront. Their films have addressed issues like gender, caste, class, sexuality, and more. Short films and web series by Indian LGBTQIA+ filmmakers that depict authentic LGBTQIA+ lives are also recommended. In conclusion, it is noted that films can create empathy, awareness, and small impacts that contribute to positive change.
Sasha Production House is launching a new biographical film titled "Painting Hussain" about the life of Indian artist M.F. Hussain. The film aims to portray Hussain's childhood, career and the controversies surrounding him. It is targeted towards an artistic niche market and those interested in Hussain. The film will debut in India and international film festivals. Market research was conducted to select this biographical story over others considered. While biopics have generally not done well financially in India, this film may find greater success internationally given Hussain's fame abroad and sympathetic Western audiences.
The document discusses the student's media production project for a thriller film. It analyzes how the production used and challenged conventions of real thriller films through techniques like eerie music, grayscale footage, slow motion, flashbacks showing past and present. It also discusses how the production represented various social groups through the main character and his behaviors in different settings. Finally, it reflects on what was learned about film technologies and production through creating this project.
The document summarizes the opening sequence of a thriller film called "The Decoy". It discusses several aspects of creating the sequence, including challenging conventions, avoiding cliches, building tension without revealing plot details, and following conventions of the spy/thriller genre. Technology use and lessons learned are also summarized. The production team wanted the sequence to suggest modern issues and get questions from audiences that would be answered later in the film.
The document summarizes feedback received from an audience on a short film called "Eighteen". The feedback was gathered through a survey with questions about how well the film represented its target audience of young women, what viewers liked about the film, and how it could be improved. Viewers generally agreed the film appealed to its target demographic and enjoyed the poetic narration. Suggested improvements included adding background music and exploring social media pressures. Viewers also felt the film effectively conveyed messages about female issues and liberation through its use of montage structure and symbolic mise-en-scene elements.
Mannequin D Essayage. Online assignment writing service.Amy Colantuoni
The document provides instructions for creating an account and submitting assignment requests on the HelpWriting.net website. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete a form with assignment details, sources, and deadline. 3) Writers will bid on the request and the customer can choose a writer. 4) The customer will receive the paper and can request revisions if needed. 5) HelpWriting.net guarantees original, high-quality content and refunds for plagiarized work.
Priyanka Chawla evaluated her group's psychological thriller media product titled "Chance." She found that it closely followed the codes and conventions of the genre but challenged some, like not using a black and white filter. Through research, Priyanka became familiar with audience expectations. She represented typical stereotypes like dominant male characters and analyzed how editing, sound, mise-en-scene, and more enhanced this. Priyanka believed Warner Bros. would be a good distributor due to similar thrillers they have released. Through surveys, she found the target audience was males 15 and over. Priyanka attracted the audience through an unusual female protagonist, the title, and familiar conventions. She learned filming, editing, and
Media studies AS Evaluation – Foundation portfolioBogwiz
The document provides an evaluation of a media studies foundation portfolio created by Zakaria Bougouizi. It discusses how the media product challenges and uses conventions of real media, how it represents social groups, and the type of media institution that might distribute it. The media product is a comedy film that portrays serious issues like unemployment in a comedic way. It represents groups like teenagers and uses conventions found in films like Men in Black and The Blues Brothers. A large UK film company like Ealing Studios would be suited to distribute the film due to their experience promoting similar genres and films aimed at British teenagers.
We used various media technologies throughout the construction, research, planning and evaluation stages of our project. During construction, we used filming equipment, professional cameras, lighting and a Mac for editing. For research and planning, we utilized our group blog, slideshare and the internet. We also filmed a focus group and uploaded our film to gain audience feedback via YouTube, the blog and websites. This feedback helped us evaluate and improve our film.
The document discusses preparing for an exam on the film "Children of Men" by analyzing techniques, themes, and elements across the entire film. Students are instructed to identify patterns in techniques used and discuss how they relate to themes. They will complete a group project analyzing how specific elements (e.g. lighting, sound) develop characters, themes, and audience response. The goal is to demonstrate understanding of the overall style and its purpose, rather than focusing on single examples.
The document summarizes the media evaluation of a short film project by Alex Frost. It discusses several ways the short film uses conventions of real media products, such as setting the scene in the opening and using black and white for a "flash forward" scene to create a film noir effect. It also describes how mise-en-scene was used to develop the setting and character. The document then discusses how the film represented the social group of a stereotypical teenage girl through her clothing, behavior, and isolation. It suggests the film would be a good fit for smaller independent film companies and film festivals, and that the target audience is 15-25 year olds interested in thrillers.
The production company featured in the film titles was Candi Media Studios because it would be unrealistic to feature major Hollywood studios given the extremely low budget. They had no funds and only a couple weeks to film and edit, so using independent UK companies would have been more realistic but they wanted to be creative and stand out by creating their own distribution company called Stomp Out Camp Distributions. Their target audience was teenagers and young adults who would immediately recognize it as being made by similarly aged people. However, the document's author acknowledges that with such a low budget, appealing to a mass market of 15-30 year olds would be difficult and a niche market using social media would be more realistic. The homemade production and distribution companies were chosen
This document summarizes Priyanka Chawla's reflections on creating a media title sequence for a psychological thriller as part of a group project. Some key points:
- Priyanka researched conventions of psychological thriller titles and incorporated some (simple text on black background) while avoiding others (black and white filter) for their project.
- Close-ups, quick editing, and suspenseful sound were used to follow thriller conventions. Male characters were given more screen time and dominance to represent typical gender stereotypes.
- Warner Bros. would be a good distributor since they have distributed similar thrillers in the past. The intended audience is males ages 15 and over who would relate to the male dominance
This document summarizes Priyanka Chawla's reflections on creating a media title sequence for a psychological thriller as part of a group project. Some key points:
- Priyanka researched conventions of psychological thriller titles and incorporated some (simple text on black background) while avoiding others (black and white filter) for their project.
- Close-ups, quick editing, and suspenseful sound were used to represent conventions of the genre.
- Stereotypes of male dominance and women in subservient roles were represented through camerawork, editing, sound, and mise-en-scene.
- Warner Bros. was identified as a suitable distributor because of its experience with similar
Our media product challenges conventions by hinting at the revenge plot in the opening, unlike most films. It represents 15-50 year olds as the target audience. Specifically, it portrays teenagers and a father character, as these ages comprised most of the questionnaire respondents. However, it depicts 'chavs' who hurt others negatively, to make viewers aware of this type. The product would be distributed by SKA Productions, as they specialize in British gangster films like this one, which is set in Britain. The target audience is 15-20 year olds, who most participated in the research and can relate to the actors. It aims to attract this age range by casting similar-aged actors, including a love
The document discusses how the author's media products used, developed, and challenged conventions of real media through a short film about bullying outcomes, poster, and film review that were informed by analyses of similar existing works. Feedback indicated that more dialogue was wanted in the short film. The author learned the importance of extensive research, planning, and using new media technologies like video cameras and editing software in effectively constructing and evaluating their media products.
The document discusses the codes and conventions used in creating the media product of a short film. It addresses the genre chosen, drama/education, and how different techniques were used to follow conventions, such as using slow motion and establishing shots. It also discusses the use of mise-en-scene to represent characters and symbolism. The narrative follows Todorov's 5-step structure and posters were created using codes like including the film title, casts, and release date. Overall, the document examines how the short film engages with industry conventions in its storytelling and marketing techniques.
The document discusses the codes and conventions used in the production of the short film "Decisions." It addresses the following:
- The film follows drama/education genres to educate teenagers while telling a story. Conventions like slow motion and establishing shots are used.
- Mise-en-scene is used to symbolize the differences between characters through their clothing and accessories. Cinematography focuses on close-ups to show characters' expressions.
- The narrative follows Todorov's 5-step theory of equilibrium, disruption, realization, restored order, and new equilibrium.
- Posters created for the film also follow conventions, including main images, titles, release dates, and use of different typ
The document discusses evaluation questions about a media project. It summarizes that the author learned about proper editing techniques, improved teamwork skills, and how to use a camera with different shot types through working on the preliminary task and full project. It also discusses distributing the project through Summit Entertainment due to their experience with psychological thrillers, targeting an audience of teenagers and those up to age 55, addressing the audience through a main character similar in age to teenagers, and representing different social classes and ethnic backgrounds through the characters. The author learned how to use technologies like Tumblr, SlideShare, and ScriptBuddy as well as cameras, editing software, Facebook, and mobile phones in the process of constructing the project.
The document discusses identifying the target audience for a film. It identifies several key demographic groups the film aims to appeal to:
- Teens, due to the teen protagonists and focus on social media.
- All genders and sexualities.
- English speaking countries only due to no translations.
It also discusses socio-economic groups A-C1 who would be interested in the dangers of social media. The film aims to draw in phone and laptop users who can relate to the protagonist. Psychographic profiling shows explorers and mainstreamers would be attracted due to new experiences and relating to the purpose of the film.
The document discusses several issues that independent short films may face, including genre, distribution, storyline, and copyright. It notes that genre helps distributors market films and was an important consideration for their psychological drama short film. It also explains their decision to distribute on YouTube, as their target audience frequents the platform, and that they will not pursue film distributors since their project is non-funded and for educational purposes. The document emphasizes the importance of a creative, unique storyline to engage viewers and discusses copyright clearances that may require permission or payment to use songs in films.
The document discusses several issues that independent short films may face, including genre, distribution, storyline, and copyright. It notes that genre helps distributors market films and was an important consideration for their psychological drama short film. It also explains their decision to distribute on YouTube since it is commonly used by their target audience. Additionally, it emphasizes the importance of a creative, unique storyline to engage viewers and discusses copyright clearances that may be needed for any music used in the film.
This document discusses how a media production used and challenged conventions of the social realism genre. It examines the conventions around actors, topics, settings, and credits. The production met conventions such as using unknown actors, portraying the lives of young people in deprived areas, and showing different social classes. It challenged conventions like minimal editing. The document reflects on how the production could have better met conventions and applied theoretical frameworks like auteur theory and hegemony theory.
The document summarizes the media product of a film called "The Following" and discusses how it uses and challenges conventions of real films. Specifically:
- The film uses viral marketing techniques seen in other films like creating social media for the victim. This helps audiences feel connected to characters.
- It adheres to common horror film conventions like having a female victim and names the film in a way that hints at the plot without revealing it.
- The film also draws from film theories around the "final girl" character and "male gaze." Audience feedback helped the filmmakers improve unclear elements and make the film scarier.
The document summarizes the media product of a film called "The Following" and discusses how it uses and develops conventions from real films. It describes how the film uses viral marketing techniques like creating social media profiles for characters. It discusses the film's poster, which takes inspiration from the successful film "Chucky." Audience feedback helped the filmmakers improve weaker aspects, like making the storyline and use of flashbacks clearer and making the film scarier.
The document discusses the process of creating the media product "The Decoy" and what was learned throughout the process. It describes how the opening scene drew from conventions of espionage films like James Bond by including spy/crime themes. Research was done on title sequences and openings of other films. The film also includes a terrorist antagonist and uses lighting, music, shots, and costumes to further conventions. Creating the product helped develop skills in camera work, editing, and use of equipment like tripods. Communication between group members could have been better to improve cooperation.
Sam Morris Candidate Number: 3142 - Evaluationsammorris
The document discusses a student's media production project and their reflections on how it challenges conventions, represents social groups, could be distributed, and who the target audience would be. The student believes their spoof comedy film challenges conventions through its professional editing, music, and mock film cover. It represents different social classes through its characters and London setting. A film studio like Working Title could potentially distribute it due to its high production quality. The target audience would be families and males/females ages 15 and up, since it's rated 15 and a comedy genre which appeals widely. Attracting this audience requires an exciting trailer and cover. Through making this project, the student learned advanced video editing skills and how technology enables high quality filmmaking.
This Course Case Map offers a rich collection (List) of ET Cases' case studies that are mapped for a popular text book "Marketing Research - An Applied Orientation" by Naresh K. Malhotra | Satyabhushan Dash 6th Edition, Pearson Education
Case View with Prince Khanna - Social Media Influencer MarketingET Cases
Prince is the Founder & CEO of Eleve Media – India’s top-most Influencer Marketing platform, enabling marketers to co-create content with online Influencers, Celebrities & Bloggers.
With over 8 years of experience in the Digital Media and Marketing space, Prince has previously spearheaded MensXP.com the business unit of Xpert Media Technology and India’s fastest growing E-mag in the Men Lifestyle domain, for Sales and Management of Digital Advertising in the Indian & International markets.
Prince started his career in the Digital Media space with Quasar Media and later drove Media Sales effort for Web18’s flagship product Money Control.
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Similar to IIM Lucknow’s Manjunath Shanmugam: Purpose-Driven Personality and the Value of Values - Interview with Sudhanshu Vats
Media studies AS Evaluation – Foundation portfolioBogwiz
The document provides an evaluation of a media studies foundation portfolio created by Zakaria Bougouizi. It discusses how the media product challenges and uses conventions of real media, how it represents social groups, and the type of media institution that might distribute it. The media product is a comedy film that portrays serious issues like unemployment in a comedic way. It represents groups like teenagers and uses conventions found in films like Men in Black and The Blues Brothers. A large UK film company like Ealing Studios would be suited to distribute the film due to their experience promoting similar genres and films aimed at British teenagers.
We used various media technologies throughout the construction, research, planning and evaluation stages of our project. During construction, we used filming equipment, professional cameras, lighting and a Mac for editing. For research and planning, we utilized our group blog, slideshare and the internet. We also filmed a focus group and uploaded our film to gain audience feedback via YouTube, the blog and websites. This feedback helped us evaluate and improve our film.
The document discusses preparing for an exam on the film "Children of Men" by analyzing techniques, themes, and elements across the entire film. Students are instructed to identify patterns in techniques used and discuss how they relate to themes. They will complete a group project analyzing how specific elements (e.g. lighting, sound) develop characters, themes, and audience response. The goal is to demonstrate understanding of the overall style and its purpose, rather than focusing on single examples.
The document summarizes the media evaluation of a short film project by Alex Frost. It discusses several ways the short film uses conventions of real media products, such as setting the scene in the opening and using black and white for a "flash forward" scene to create a film noir effect. It also describes how mise-en-scene was used to develop the setting and character. The document then discusses how the film represented the social group of a stereotypical teenage girl through her clothing, behavior, and isolation. It suggests the film would be a good fit for smaller independent film companies and film festivals, and that the target audience is 15-25 year olds interested in thrillers.
The production company featured in the film titles was Candi Media Studios because it would be unrealistic to feature major Hollywood studios given the extremely low budget. They had no funds and only a couple weeks to film and edit, so using independent UK companies would have been more realistic but they wanted to be creative and stand out by creating their own distribution company called Stomp Out Camp Distributions. Their target audience was teenagers and young adults who would immediately recognize it as being made by similarly aged people. However, the document's author acknowledges that with such a low budget, appealing to a mass market of 15-30 year olds would be difficult and a niche market using social media would be more realistic. The homemade production and distribution companies were chosen
This document summarizes Priyanka Chawla's reflections on creating a media title sequence for a psychological thriller as part of a group project. Some key points:
- Priyanka researched conventions of psychological thriller titles and incorporated some (simple text on black background) while avoiding others (black and white filter) for their project.
- Close-ups, quick editing, and suspenseful sound were used to follow thriller conventions. Male characters were given more screen time and dominance to represent typical gender stereotypes.
- Warner Bros. would be a good distributor since they have distributed similar thrillers in the past. The intended audience is males ages 15 and over who would relate to the male dominance
This document summarizes Priyanka Chawla's reflections on creating a media title sequence for a psychological thriller as part of a group project. Some key points:
- Priyanka researched conventions of psychological thriller titles and incorporated some (simple text on black background) while avoiding others (black and white filter) for their project.
- Close-ups, quick editing, and suspenseful sound were used to represent conventions of the genre.
- Stereotypes of male dominance and women in subservient roles were represented through camerawork, editing, sound, and mise-en-scene.
- Warner Bros. was identified as a suitable distributor because of its experience with similar
Our media product challenges conventions by hinting at the revenge plot in the opening, unlike most films. It represents 15-50 year olds as the target audience. Specifically, it portrays teenagers and a father character, as these ages comprised most of the questionnaire respondents. However, it depicts 'chavs' who hurt others negatively, to make viewers aware of this type. The product would be distributed by SKA Productions, as they specialize in British gangster films like this one, which is set in Britain. The target audience is 15-20 year olds, who most participated in the research and can relate to the actors. It aims to attract this age range by casting similar-aged actors, including a love
The document discusses how the author's media products used, developed, and challenged conventions of real media through a short film about bullying outcomes, poster, and film review that were informed by analyses of similar existing works. Feedback indicated that more dialogue was wanted in the short film. The author learned the importance of extensive research, planning, and using new media technologies like video cameras and editing software in effectively constructing and evaluating their media products.
The document discusses the codes and conventions used in creating the media product of a short film. It addresses the genre chosen, drama/education, and how different techniques were used to follow conventions, such as using slow motion and establishing shots. It also discusses the use of mise-en-scene to represent characters and symbolism. The narrative follows Todorov's 5-step structure and posters were created using codes like including the film title, casts, and release date. Overall, the document examines how the short film engages with industry conventions in its storytelling and marketing techniques.
The document discusses the codes and conventions used in the production of the short film "Decisions." It addresses the following:
- The film follows drama/education genres to educate teenagers while telling a story. Conventions like slow motion and establishing shots are used.
- Mise-en-scene is used to symbolize the differences between characters through their clothing and accessories. Cinematography focuses on close-ups to show characters' expressions.
- The narrative follows Todorov's 5-step theory of equilibrium, disruption, realization, restored order, and new equilibrium.
- Posters created for the film also follow conventions, including main images, titles, release dates, and use of different typ
The document discusses evaluation questions about a media project. It summarizes that the author learned about proper editing techniques, improved teamwork skills, and how to use a camera with different shot types through working on the preliminary task and full project. It also discusses distributing the project through Summit Entertainment due to their experience with psychological thrillers, targeting an audience of teenagers and those up to age 55, addressing the audience through a main character similar in age to teenagers, and representing different social classes and ethnic backgrounds through the characters. The author learned how to use technologies like Tumblr, SlideShare, and ScriptBuddy as well as cameras, editing software, Facebook, and mobile phones in the process of constructing the project.
The document discusses identifying the target audience for a film. It identifies several key demographic groups the film aims to appeal to:
- Teens, due to the teen protagonists and focus on social media.
- All genders and sexualities.
- English speaking countries only due to no translations.
It also discusses socio-economic groups A-C1 who would be interested in the dangers of social media. The film aims to draw in phone and laptop users who can relate to the protagonist. Psychographic profiling shows explorers and mainstreamers would be attracted due to new experiences and relating to the purpose of the film.
The document discusses several issues that independent short films may face, including genre, distribution, storyline, and copyright. It notes that genre helps distributors market films and was an important consideration for their psychological drama short film. It also explains their decision to distribute on YouTube, as their target audience frequents the platform, and that they will not pursue film distributors since their project is non-funded and for educational purposes. The document emphasizes the importance of a creative, unique storyline to engage viewers and discusses copyright clearances that may require permission or payment to use songs in films.
The document discusses several issues that independent short films may face, including genre, distribution, storyline, and copyright. It notes that genre helps distributors market films and was an important consideration for their psychological drama short film. It also explains their decision to distribute on YouTube since it is commonly used by their target audience. Additionally, it emphasizes the importance of a creative, unique storyline to engage viewers and discusses copyright clearances that may be needed for any music used in the film.
This document discusses how a media production used and challenged conventions of the social realism genre. It examines the conventions around actors, topics, settings, and credits. The production met conventions such as using unknown actors, portraying the lives of young people in deprived areas, and showing different social classes. It challenged conventions like minimal editing. The document reflects on how the production could have better met conventions and applied theoretical frameworks like auteur theory and hegemony theory.
The document summarizes the media product of a film called "The Following" and discusses how it uses and challenges conventions of real films. Specifically:
- The film uses viral marketing techniques seen in other films like creating social media for the victim. This helps audiences feel connected to characters.
- It adheres to common horror film conventions like having a female victim and names the film in a way that hints at the plot without revealing it.
- The film also draws from film theories around the "final girl" character and "male gaze." Audience feedback helped the filmmakers improve unclear elements and make the film scarier.
The document summarizes the media product of a film called "The Following" and discusses how it uses and develops conventions from real films. It describes how the film uses viral marketing techniques like creating social media profiles for characters. It discusses the film's poster, which takes inspiration from the successful film "Chucky." Audience feedback helped the filmmakers improve weaker aspects, like making the storyline and use of flashbacks clearer and making the film scarier.
The document discusses the process of creating the media product "The Decoy" and what was learned throughout the process. It describes how the opening scene drew from conventions of espionage films like James Bond by including spy/crime themes. Research was done on title sequences and openings of other films. The film also includes a terrorist antagonist and uses lighting, music, shots, and costumes to further conventions. Creating the product helped develop skills in camera work, editing, and use of equipment like tripods. Communication between group members could have been better to improve cooperation.
Sam Morris Candidate Number: 3142 - Evaluationsammorris
The document discusses a student's media production project and their reflections on how it challenges conventions, represents social groups, could be distributed, and who the target audience would be. The student believes their spoof comedy film challenges conventions through its professional editing, music, and mock film cover. It represents different social classes through its characters and London setting. A film studio like Working Title could potentially distribute it due to its high production quality. The target audience would be families and males/females ages 15 and up, since it's rated 15 and a comedy genre which appeals widely. Attracting this audience requires an exciting trailer and cover. Through making this project, the student learned advanced video editing skills and how technology enables high quality filmmaking.
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IIM Lucknow’s Manjunath Shanmugam: Purpose-Driven Personality and the Value of Values - Interview with Sudhanshu Vats
1. Sudhanshu Vats,
Group CEO, Viacom18 Media Pvt. Ltd.
Viacom 18 promoted and released the movie
‘Manjunath’
ET CASES
October 2014
Interviewed
by
Dr. Nagendra V. Chowdary
Interview
with
Sudhanshu Vats
Ref. OB-1-0033B/5
CASE VIEW ON
IIM LUCKNOW’S MANJUNATH SHANMUGAM:
PURPOSE-DRIVEN PERSONALITY AND THE VALUE OF VALUES
2. 2
ET CASES
Interview with Sudhanshu Vats IIM Lucknow's Manjunath Shanmugam: Purpose-driven Personality...
1. What made the Viacom 18 Studio back such a different yet commercial project? What
were the challenges?
Viacom 18 Studio has now been doing projects which in our judgement are more of
meaningful cinema, or if I could use the word content-led cinema. If you look at some of
the projects which we’ve done, more specifically in this space are two biopics – Bhaag
Milkha Bhaag and Mary Kom. We also did a film on Rajiv Gandhi’s assassination called
Madras Café.AlsoViacom18,notonlythestudio,butasacompany,oneofthekeyelements
of our DNA is innovation or doing things as I call ‘hatke’. And that was also one of the most
important driving factors for the success of Colours, at Viacom 18. And if you look at it
again from the point of view of this theme of innovation and ‘hatke’, we’ve done quite a
few films in that space – films like Kahani, Gangs of Wasseypur 1 & 2, Oh My God, Special
26 to name a few. We have been making films which are theme or content-led, which have
innovation from the point of view of thoughts and most specifically we’ve been trying to
do a couple of films, which in our judgment is more of ‘meaningful cinema’. It is in this
context that Sandeep had approached us with his project on Manjunath. And I think the
beauty about Manjunath as a project is, not only is it meaningful cinema, I think it is in a
way showing mirror to the society and to many of us in the corporate world. Here was an
individual who was like us, like most of us actually, coming from a typical Indian middle
class family. Having worked very hard during his growing years, excelled in education and
then bagged a very respectable job in a reputed organisation in India. So a very classic
story, particularly of the last two or three decades of the young India. And the difference,
however with this gentleman was the courage which he could display, and his courage of
conviction. And his ability therefore – the story of a whistle-blower who refused to bow
down to that which is happening around us, by the deep-seeded corruption which has
seeped into our society and in some ways is an endemic disease, if I could use the word.
It’s a strong, harsh word but I want to use it – which has set into the Indian society. So we
thought that it’s a very powerful story, it’s a story that definitely needs to be told. And I
think that Sandeep has had the courage to make the film, we should therefore be able to
then see how to bring it to the fore. So, one, a bit of our history in the space in which we
were doing things, two, about one whom we could relate with and something which we
“““““...we’ve been trying to do a couple of films,
which in our judgment is more of ‘meaningful
cinema.”””””
3. 3
ET CASES
IIM Lucknow's Manjunath Shanmugam: Purpose-driven Personality... Interview with Sudhanshu Vats
need to particularly show a mirror to ourselves, to the society in corporate India and finally,
a film which stood up to one of the key issues facing the society. So I think that’s what
made us as a studio, look at Manjunath.
2. Does it arise from an internal corporate value system which made them take the
decision to support such a movie?
Some of these things are reflective of the value system of the organisation, and in my
judgement, many a times of the leaders as well (the people who make the organisation),
we do things with conviction and all businesses should be done like that. This is also a
story which in some ways strengthens that conviction, of Viacom 18 as a company. So I
think we are basically committed to doing business with integrity so that’s the thing that
resonates with us when we do a film like Manjunath. The other point being that it is also
part of the value system which is trying to, as I expressed in the previous answer, is for us
to do cinema which has an element of meaningfulness to it. So basically, meaningful cinema
has a message which we are conveying to the society and also in a way it is being innovative.
It is being able to push the boundary and challenge ourselves that allowed us to accept
this. We understood that it is challenging. From a commercial point of view, a project like
this would always be challenging and it has been, actually. We’ve had success with a few
but these projects are very challenging, your ability to draw the audience to watch these
kind of stories – it’s still a challenge in a country like India.
3. What in your view needs to be done to ensure more such movies are made in India so
that more such real role models come into light to a general audience?
I think to drive content-led cinema or different cinema there are a few ingredients which
need to come into play. I think there has to be a change across the value chain, across the
ecosystem. It starts from first identifying these stories and being open to listening to
these stories, and building within individuals and ideally in organisations the conviction,
that we will back such stories. And I think, in a manner of speaking that it is individuals like
Sandeep Varma who allow us to be able to ensure that these kind of stories are being
looked at because of his own conviction. And I think as organisations also, we as studios,
need to look at the business with two lenses – a business which is purely entertainment,
and that’s important – as we’re in the business of entertainment. But at the same time, a
part of the business, which is both entertaining yet educating and enriching individuals,
from the point of view of their growth, which is also as important.
Are we seeing some green shoots already? The answer is another unequivocal ‘yes’. Do
we needto nurture it further? The answer is again, ‘yes’. And we needto look at mechanisms
4. 4
ET CASES
Interview with Sudhanshu Vats IIM Lucknow's Manjunath Shanmugam: Purpose-driven Personality...
to encourage it so that we are more open to listening to everyone. We open our talent pool
evenmore,particularlyinwriting,directingtalentpoolratherthandependingontheexisting
small ecosystem – because they are more occupied with so called commercial cinema.
That’s the first piece which needs to happen.
The second piece that needs to happen is being able to make these films on much tighter
budgets. Because fact of the matter is that these films are likely to be, not your 100 crore
films. They are not likely to be blockbusters, it’s a different thing that some of them may
turn out to be like that. But by definition, these are more likely to be smaller films to begin
with. Therefore, our ability to define and be able to run them in very tight budgets is the
second factor.
Third factor, though slightly contradictory with the second, but I do want to bring that in, is
that there has to be an understanding between studios and directors to acknowledge that
these films need not be big and therefore there has to be a control on costs and on
production particularly. But at the same time we need to recognise how we bring in hooks,
or characters, or faces, or stars around which we can mount them bigger. Because the
purpose of doing a film like this is to be able to relay this message to all of India, in the
“““““...the advent of multiplexes has given in
some ways, a vehicle or room for this kind
of different cinema to be showcased as well,
which is wonderful.”””””
utopian sense, and the whole world in a manner of speaking. If that be the purpose then by
definition the line between so called ‘content rich’ cinema and ‘commercial’ cinema needs
to blur. So, we should be sure that we get those hooks. So, the question we need to ask is
– are we crafting some of those thresholds? Is there an anchor there? And what is the cost
attached to getting that anchor in? Is there a star who is lending his or her name to the
project? And what will that do to the project. So, the third point is how to ensure that we
make these powerful films, which are equally entertaining, and have a little bit of star
power or the conventional wisdom of movies. As you know film-making is an expensive
craft. At the end of the day you are making a feature film and how do you bring in those
idioms of the craft. That’s the third point.
The fourth point, in my judgement is exhibition. I think in exhibition, if we have to drive
more and more such films, we need to find first of all, more dynamic pricing. It’s not one
5. 5
ET CASES
IIM Lucknow's Manjunath Shanmugam: Purpose-driven Personality... Interview with Sudhanshu Vats
shoe fits all. The good news on the exhibition front is, in the last five to ten years in India,
the multiplexes have come up. And the advent of multiplexes has given in some ways, a
vehicleorroomforthiskindofdifferentcinematobeshowcasedaswell,whichiswonderful.
In the good old days of single screen cinema this would have been very, very difficult. So
that has changed. You can see it in the success of smaller budget films. However, I think
we need to go a step further now. A step further being, how do we ensure that some of
these films have two things – perhaps a slightly longer longevity at the ticket window
because some of them need word-of-mouth publicity to build, and word-of-mouth publicity
sometimes could take a little longer. Two, can we also look at a more differential pricing,
not only for this film, but for films in general, so that when you do a star-led film which
opens in almost 4000 screens, in the week – one you may want to price your ticket at 300
or 400. And people pay that 300 or 400 to watch the superstar, let’s be honest. But when
you are bringing in a story, and if that hook is not there, and in many of these films it may
not be there, what are they going to come in for? Are they expected to pay 400? Maybe
not. So if we have, a more dynamic pricing for films like this. Where we drive up occupancy,
we give longevity to the film in the hall, but we look at pricing more judiciously and not
necessarily at those high levels that we do for the classic star-led and commercial cinema,
I think this is another thing we need to work on, in terms of exhibition.
The other thing which we need to look at when we do films like this is also marketing. So if
you look at the conventional marketing model, for star-led films which are mounted – is
one model. And it has its own system, its own ‘go-to-market’ strategy and perhaps its own
set of budgets. Their reliance on more conventional media is higher and therefore you
spend a huge budget in a short while. And that’s how you rapidly build the awareness and
drive them. What will need to be looked at for films like this is may be a more differentiated
marketingstrategyand‘go-to-market’model–perhapsaveryhighindexingoroverindexing
on digital and viral marketing and at the same time seeing and testing how to still build
the awareness, which you want. At the end of the day, the awareness needs to peak at the
point of time when the film is releasing. So that’s another challenge – basically how to get
creativity and innovation into marketing as you move forward and what is it that you can
do in order to drive that. Even your outreach programs – are these outreach programs
more focused and directed towards educational institutions, towards youngsters, corporate
and so on and so forth? Do you have more such programs which are done more
unconventionally and which can generate in some ways, a demand? So, these are the
things we need to look at when it comes to marketing of such films, in the future.