Acceptance of E-TV Urdu in Hyderabad and Secundrabad, A.P

1. ACKNOWLEDGEMENT
This summer training is of an immense academic record and value for the
student of any professional course and for the MBA student who have to
be in the industry with the theoretical knowledge; this practical experience
gives an extra confidence in his performance.
I would like to thanks the USHODAYA Enterprises Limited that gave
me the honour to complete my summer training in the field of Media. I
would like to thanks all the employees & associates of USHODAYA
Enterprises Ltd who really helped me in understanding all the functions
and activities of the organization from time to time.
My heartiest thanks are due to Mr. RAJIB CHATTERJEE, who
encouraged me to cope with the problems that I faced during the course of
this project and to every member of Marketing Department for their help
and cooperation with me during this project.
I am also thankful to the respondent of my questionnaires who gave their
precious time to accomplish my project.
Lastly I would like to thank all those who helped me in any way in my
project.
(Kalim Ullah)

2. Company Profile
Eenadu – Ramoji Film City Group
The Group
Well diversified with divergent business activities
Known for providing quality products.
Known for solidity, dependability and trust worthiness
Believes in transparency, human values.
A corporate - Fair business practices

3. Group business interest
Publishing
Entertainment and Film Making
Financial Services
Consumer products
Marketing & Retailing
Hotels & Leisure
Integrated Film Studio mega complex
TV Software development
Publishing
Eenadu
- Telugu Daily
Before Eanadu and after Eenadu.Two phases in language news publishing.
Eenadu was born out of an inherent need of Telugu for a newspaper in
their own language- best their nuances, their concerns, their views.

4. Today the newspaper of the Telugu is Eenadu.
More households in the state of the Andhra Pradesh wake up to Eenadu
than other news daily. the heart and soul of Andhra Pradesh, it enjoys a
circulatio of over 8 lakh copies per day and is published simultaneously
from 15 centres.
News time
- English Daily
A popular English daily published from Hyderabad, Newstime is
known for its extensive and impartial coverage of local, national and
international news.
Sitara
- Film Magazine Weekly
Annadata
- Magazine for farmers
Vipula & Chatura
- Family reading Magazines

5. Eenadu
Largest circulated Telugu daily in AP with a circulation of over 9.0 lacs,
and it is third most read daily in the country with a readership of 92 lacs.
Eenadu is simultaneously published from 12 centres of AP
Eenadu is the first Telugu daily to come in color all days.
Eenadu is contemporary, quick in adapting to new technologies.
Eenadu is known for providing authentic and speedy news.
Eenadu is consumer driven in approach brought out many features
(woman’s page, sports page, cinema page)
Eenadu is Heart & Soul of Andhra.
Entertainment & Film making
ETV-Network
Ushakiron Movies
Mayuri Film Distributors
Mayuri Audio
Ushakiron Television
Ushakiron Movies Ltd

6. Entertainment
ETV – Eenadu Television
The ETV Networks has a host of successful satellite language channels:
ETV Telugu, ETV Bangla, ETV Urdu ETV Marathi, ETV Kannada.
The channel has a strong news networks across the country. The ETV
Networks also own India’s first private earth station set up in technical
collaboration with world leader, Scientific Atlanta.
First Telugu Satellite Channel with 18 hours programme.
Entertainment packed with target specific programmes.
Serials featuring stars of Telugu film land
Known for strong new gathering network.
Ushakiron Movies
Most professionally managed Filmmaking Company.
Produced over 50 films in Telugu, Kannada and Hindi.
Enjoys good reputation among filmgoers.
Known for producing clean entertainers.
Mayuri Film Distributors
Distributed over 100 films in AP
Known for scientific approach and deft handling of distribution affair.
Believes in total transparency in transactions.
Respected by Exhibitors and Filmmakers.

7. Ushakiron Television
Well – Established TV Software Company run by experienced
professionals and accomplished creative personnel.
Provides software to all group channels and has produced over 2000 hours
of software.
Has commissioned multi crore, multi lingual mythological serials, which
will be a visual feast because of high production values and mind boggling
special effects and are soon to hit small screen in a big way.

8. Financial Services
Margadarsi Chit Fund Limited
36-year-old flagship company of the group.
Chit fund is a cooperative investment and borrowing instrument, (a
concept very strong in South India).
Margadarsi is the largest chit Fund Company in AP.
Annual turnover of 1000 crore with 56 branches.
Has a subscriber base of 2,00,000 members.
Margadarsi has institutionalized chit concept in AP.
Margadarsi Chit Fund is known for trust & dependability.
Margadarsi Financial Services
Involved in fee based activity
Engaged in bill discounting, leasing, loan syndication, under writing, and
other financial services.

9. Consumer Products
Priya – Pickles
Priya is manufactured in fully automated factory at Vijayawada.
Priya is very strong brand with national presence, and is also exported to
US/middle east.
Priya has a strong product range with 23 flavors unmatched by any other
manufacturer.
Priya is known for genuine Indian taste and consistent quality.
Priya masala paste, masala powders and culinary pastes are also available
in select states.
Priya has introduced soft - boiled, hard-boiled, center filled toffees and
candies under the brand name of ‘Yahoo’, ‘refresh’, ‘softer’ and ‘wow’.
Kalanjali
It is exclusive show room spread over 10,000 sq.ft in the heart of
Hyderabad.
Kalanjali houses handicrafts & handmade textiles made available in India
under one roof.
Kalanjali is discerning consumer’s delight.
Merchandise here is picked up from master crafts & weavers.
Kalanjali’s design department has created many exclusive patterns.

10. Dolphin Group of Hotels
Dolphin – Vizag
The first star hotel in town
Centrally located
Friendly service
Sitara – RFC
Luxury hotel
Complete facility
Asia’s best equipped health club
Club house with best indoor games
Conference facility.
Tara – RFC
Comfort – Economy hotel
24 hours restaurant
Elegant room

11. Integrated World’s Largest Film Studio
Complex
Ramoji Film City
Ramoji Film City is the world’s largest and most comprehensive film
studio complex, spread across a mammoth 2000 acres.
Numerous filmmakers and units including several from Hollywood have
already filmed some class acts here.
The Ramoji Film City has:
Walk-in with script and walk-out with canned film
World largest film studio complex
Scores of locations
Forty studio floors
Lush gardens, avenues and fountains
A fully equipped prop facility with every conceivable kind of prop.
Set design and construction
State-of-the-art equipment and experienced production staff to assist you.
Editing, dubbing and sound recording facilities.

12. Introduction to the Project
The summer project undertaken by the researcher aims at the following
objectives i.e. to measure or assess the market potential, to obtain market
information from the suspects, to explore & exploit untamed business
opportunities, to find and generate new ideas for product development as
well as renovation an to obtain other related information that could be
crucial to make short term and long-term forecasts so that the firm can take
necessary policy measure which enhance and further consolidates the
market share of the firm and establishes it as a trend setter and market
leader
To obtain the above-mentioned objectives the researcher has extensively
used the tool i.e. marketing research. Basically market research specifies
the information required to address these issues, designs the methods for
collecting information, manages and implements the data collection
process; analyses the results & communicates the findings and their
implication.

13. The Project Aim & Objectives
Project Title:
Acceptance of E-TV Urdu in Hyderabad and Secundrabad, A.P.
Objectives:
 Do they know the E-TV?
 Do they get it at home?
 Acceptance of this channel?
 Favorite Programmes?
 Why do they like E-TV?
 What do they find in E-T.V. Urdu, which they don’t in other Hindi
channels?
 What do they find missing?
 Top three Programmes that men/women/kids watch.
 Which News bulletins and hourly News (Samachar, Khaas Baat,
Khabarnama, Khabraen.) they like most?
 Which Channel do you think can give similar entertainment value?

14. Types of Research
1. Exploratory
2. Conclusive
Exploratory Research :
 Exploratory research is done in the view to find secondary data collected
by means of varied sources.
 It encompasses details gathered from knowledgeable person and it also
uses case study up to certain respect.
Conclusive Research :
 This is used to find out some concrete relationship between certain known
factors.
 It tries to form up complex relationship between cause & effect.
In this study the researcher tried his best to conduct the conclusive study.

15. Research Methodology & Data Collection
Research Design : Research design is the plan, structure and strategy of
the research scheme on which the researcher is to work. The structure of
research is more specific outline or the scheme and the strategy show how
the research will be carried out specifying the method to be used in the
collection & analysis of data.
The researcher applied here descriptive studies to measure the market
potential and ideas for product/solution development as well as the
renovation and to obtain other related information that could be crucial to
make short term as well as long term forecasts and planning.
Data Collection: In fulfilling the objectives of the project only primary
data were collected through Personal Interviews.
Primary Data: Primary data refers to those, which are collected for the
first time and whose statistical treatment has yet to be done.
As the survey was not exhaustive, so the samples have been choose
randomly assuming the whole universe homogenous.

16. The primary data can be collected mainly by the following methods.
1. Direct & Personal Investigation: In direct & personal investigation, as
the name suggest, the investigator has to collect the information personally
from the sources concerned. He has to be on the spot for conducting study.
It is necessary that in such cases the investigator has keen sense of
observation and he should be polite and courteous.
2. Indirect Oral Investigation: Persons who are supposed to have
knowledge about the problem under investigation are interrogated and the
desired information is collected. Usually in such enquires a small list of
questions related to the investigation is prepared and these questions are
put to different persons (known as witness) and their answers are recorded.
Invariably it should be seen that the persons being questioned:
a. Know full facts of the problem under investigation
b. Are not predicted
c. Are capable of expressing himself correctly and can give true accent and
d. Are not motivated to give color to the facts
1. Questionnaires: “The questionnaire consists of a list of pre-set formed
questions to be asked”. In this project ‘Disguised-Unstructured’ type of
questionnaire is used to collect the primary data.
The purpose for which Disguised type of questionnaire is used, is to
collect the relevant information regarding the objectives of the project
without disclosing the objective of the study.
Universe: Hyderabad & Secunderabad
Sample Size: 381

17. About Urdu
History of Urdu
Urdu language and literature, beyond their spatial confines, have been
more heard of than read. With the publication of some notable translations,
some of them in the recent past, a new literary culture seems to be
emerging from the canons of the old. Modern Urdu poetry, of which this is
the first comprehensive selection, has its own tradition of the new.
It has developed through stages of a variegated literary history. This
history has absorbed both the native and non- native elements of writing in
Arabic and Persian, and the Urdu language has survived through several
crises and controversies.
Some of these are related to its growth and development, its use by the
British to divide the Hindus and the Muslims. It estrangement in the land
of its birth following the Partition of India and its interaction with Hindi
once akin but now an alien counterpart. Even with the extinction of those
generations of Sikhs in Punjab, Muslims in Bengal and Hindus elsewhere,
who nurtured the language with love and for whom it was the mark of a
cultivated man, the language has survived and developed. It is now the
cultural legacy of India and the adopted national identity of Pakistan, and
significant new literature has emerged in both countries.
Literary centre : Deccan, Delhi and Lucknow
Literature in Urdu grew at three different centres: Deccan, Delhi and
Lucknow. As it happened, the Deccan emerged as the earliest centre, even
though the language had first developed in northern India, as a result of an
interesting linguistic interaction between the natives and the Muslim
conquerors from Central Asia, who settled there in the twelfth and
thirteenth centuries, The period stretching roughly from the middle of the
fourteenth centuries to the middle of the eighteenth produce a number of
poets.

18. They are claimed both by Urdu and Hindi literary historians, but Quli
Qutub Shah (1565-1611) is generally acknowledged as the first notable
poet, like Chaucer is English, with a volume of significant poetry in a
language later named Urdu. He was followed by several others, among
whom Wali Deccani (1635-1707) and Siraj Aurangabadi ( 1715-1763)
deserves special mention. Delhi emerged as another significant centre with
Mirza Mohammad Rafi Sauda (1713-80), Khwaja Mir Dard (1721-85),
Mir Taqi Mir (1722-1810), Mirza Asadullah Khan Ghalib (1797-1869) and
Nawab Mirza Khan Dagh (1831-1905). It reached its height of excellence
during the eighteenth and nineteenth centuries. Lucknow made its way as
the third important centre with Ghulam Hamdani Mushafi (1725-1824),
Inshallah Khan Insha (1757-1817), Khwaja Haidar Ali Atish (1778-1846),
Iman Baksh Nasikh (1787-1838), Mir Babr Ali Anis (1802-74) and Mirza
Salamat Ali Dabir (1803-1875). These literary capitals, where the classical
tradition developed, had their individual stylistic and thematic identities,
but broadly it may be said that the ghazal (love lyric) reached its zenith
with Mir and Ghalib, qasida (panegyric) with Sauda, mathnawi (romance)
with Mir Hasan and marthiya (elegy) with Anis and Dabir.
Hali and Iqbal : new poetry in Urdu
In the period that followed, and before the launching of the Progressive
Writers Movement in the 30s, mention should be made of Altaf Husain
Hali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet of
the newer socio-cultural concerns and advocated 'natural poetry' that had
an ameliorative purpose. His Musaddas is an important example of this. He
was also a theorist who opened new frontiers in Urdu criticism with his
Moqaddama-e-Sher-o-Shairi (Preface to Poetry) which equals
Wordsworth's Preface to Lyrical Ballads in importance, and even surpasses
it in certain respects. He realized that with the impact of the West a new
perspective was required.

19. He, along with Mohammad Husain Azad (1830-1910), laid the foundations
of a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore.
Azad had asserted in the same year that Urdu poets should come out of the
grooves of responses conditioned by Persian culture and root their works in
the ethos of the land. Seeing no response to his pleas, he reiterated the
same point seven years later on May 8, 1874 during his address on the
occasion of the first mushaira of the Anjuman. These appeals failed to
make and impact as sensibilities rooted in particular tradition are not easily
altered even by impassioned pleas.
Hali, creating a new taste for his age. Iqbal, with his remarkable religio-
philosphical vision, and Josh Malihabadi (1838-1982), with his
nationalistic and political fervour, produced exceptionally eloquent kinds
of poetry that continue to reverberate over the years. Iqbal remained the
most influential poet to achieve artistic excellence while putting forward a
philosophical point of view, and his poetry, quite often, acquired the status
of the accepted truth.
A host of others Urdu poets and translators of English poetry who
appeared on the literary scene during the first quarter of this century
experimented with non-traditional poetic forms but they ultimately echoed
sentiments and adopted forms that were more or less tradition-bound. They
also looked towards the West, the traditional source of literary influence,
but that was a world apart and too far to seek,
They could reach only the Romantics who had already become outmoded
in an age identified with Ezra Pound and T. S. Eliot. A characteristically
modern poem in form and value, tone and tenor, remained at best an
intriguing possibility.

20. Progressive Writers Movement
The 1930s emerged as the archway for entry into a new world and achieve
the unachieved. Some young Indians-- Sajjad Zaheer, Mulk Raj Anand,
and Mohammad Deen Taseer-- who wee then studying in London, musing
on the role of literature in a fast-changing world, came up with a manifesto
for what came to be known as the Progressive Writers Movement. Even
before this, Sajjad Zaheer, during his stay in India had published Angare
(Embers), an anthology of short stories, with explicit sexual references and
an attack on the decadent moral order.
The book had to be banned, like Lady Chatterley's Lover, but the stories
had an impact, as they were thematically interesting and technically
innovative. The reader had suddenly become exposed to the worlds of
Freud, Lawrence, Joyce and Woolf.
There was a world of new values waiting to be explored by an emotionally
charged and intellectually agile reader. The Progressive Writers Movement
was launched at the right time. This was the precise hour to shed the age-
old traditions, take leave to the clichés, proposed new theories, and explore
a new world order.
Akhter Husain Raipuri, in his well-timed Adab aur Inqilab (Literature and
Revolution) published in 1934, discarded the classical Urdu poets,
including Mir and Ghalib, as degenerate representative of a feudalistic
culture. This rejection was, however, based on extra-critical considerations
as he was more intent on popularizing Marxist thought in literature.
Premchand's famous presidential address to the conference of Progressive
Writers Association in Lucknow two years later in 1936, came as a more
precise call to relate literature to social reality. ' We will have to change the
standards of beauty, ' he had said, and beauty of him was that which Eliot
identified as ' boredom and horror' in his own context.
The movement focused on poverty, social backwardness, decadent
morality, political exploitation; it dreamt of an ideal society and a just
political system. Every rebel was, therefore, a progressive writer and vice-
versa during those exhilarating days.

21. He was basically wedded to the idea of political and social revolution. He
drew his inspiration from Marx. He rejected the striving for individual
signatures, new modes of expression and new experiments in form.
It was important for the poet to denote rather than connote, and to appeal to
the larger humanity rather than to the individual.
Falling victim of these errors before long, the movement alienated some
noted poets, the most important of them being N. M. Rashed (1910-75) and
Miraji (1912-49), who came together to lead a group called Halqa-e-
Arbab-e-Zauq (Circle of Connoisseurs) in 1939. The progressive writers
insistence on ideology and the impatience of those who cared more for art
are reminiscent of the British poets of the 1930s and the later stance of W.
H. Auden.
Faiz Ahmad Faiz (1911-84) is the most prominent and the finest of the
poets who subscribed to the progressive ideology. He was singularly
successful in striking a balance between art an ideas. He was drawn upon
sources other than Urdu and Persian and imparted an individual tone to his
poetry. He did not raise slogans; he only uttered soft notes of
expostulation. He was inspired more by the spirit of liberation than by
slogans raised elsewhere.
Prominent among other progressive poets were Asrarul Haq Majaz (1908-
56), Makhdoom Mohiuddin (1908-69), Ali Sardar jafri (b.1913), Jan Nisar
Akhter (1914-76), Kaifi Azmi (b.1918) and Sahir Ludhianawi (1921-80).
They are mentioned here not only for the individual qualities of their
poetry by also for their importance in this movement at a particular
juncture in literary history. Despite the deep political complexion of the
Progressive Writers Movement, it prominence was a short-lived affair. The
next generation of poets expressed certain misgivings about their emphasis
on class struggle in a materialistic and scientific world. The new poet
wished to shake off all external shackles and apprehend his own
experience for himself.

22. The modernism N. M. Rashed and Miraji are the two most remarkable poets in
this group.They along with Faiz, represent in the Urdu language what Eliot
and the Symbolists do in English and French. They appeared later but also
showed a unique resilience and vitality. Faiz was a poet with a message,
one woven artistically into a pattern of symbols and delivered in
mellifluous tones. Rashed treated the Urdu language in a fresh way and
created complex symbiotic fusion.
Faiz appeals alike to the philanthropist and the philanderer, the pious and
profane, the music makers and dreamers of dreams, but Rashed appeals
only to a select readership.
Faiz emerged as a myth in his own lifetime while Rashed and Miraji are
yet to be fully appreciated. Rashed's resources are immense. The merging
to the eastern and western influences accounts for the richness of his verse
enhanced by linguistic innovation and poetic skill. Miraji, who reminds
one of Tristan Corbiere in his bohemianism, drew upon Oriental, American
and French sources, meditated upon time, death, the mystery if human
desires, the raptures of sex and wrote in a variety of verse forms -- regular,
free, and prose-like. He opted for esoteric symbolism, resorted to the
stream-of-consciousness method and emerged as a unique modernist
movement in Urdu poetry.
It was on this tradition that individual poets later developed their own
version of modernism. Majeed Amjad (1914-74), Akhtarul Iman (b.1915)
and Mukhtar Siddiqi (1917-72) deserves special mention here. A poem for
them was a delicate work of art that succeeded or failed for its artistic
worth. Akhtarul Iman wrote ironic, nostalgic and dramatic poems, while
Majeed Amjad wrote in an inimitable introspective mood and ideas. They
served as models for the younger poets to follow. The impact of Rashed,
Miraji and Faiz was immense and far-reaching. Their successors echoed
them, learnt from them and so came to acquire their own voices in course
of time.

23. The generations of poets since the 1950s faced new predicaments. The
Partition of India was an experience they had suffered, while the world
around was also terribly alive and eventful. Groups of poets followed on
after another; Wazir Agha (b.1922), Muneer Niyazi (b.1927), Ameeq
Hanfi (1922-88), Balraj Komal (b.1928), Qazi Saleem (b.1930) grappled
with the world around in an idiom and form that were decidedly new and
had nothing to do with Progressive aesthetics. All of them acquired their
own individual identities and made their mark in the development of
modern poetry. They looked back at their won masters-- Mir and Ghalib--
and fared forward to Eliot and Empson.
Modern literary and philosophical movements no longer remained alien.
Realism, symbolism, existentialism, and surrealism, were drawn closer
home. Kumar Pashi (1935-92), Zubair Rizvi (b.1935), Shahrayar (b.1936),
Nida Fazli (b.1938) and Adil Mansoori (b.1941), on the one hand, and
Gilani Kamran (b.1926), Abbas Ather (b.1934), Zahid Dar (b.1936), Saqi
Farooqi (b.1936), Iftekhar Jalib (b.1936), Ahmed Hamesh (b.1937),
Kishwar Naheed (b.1940) and Fehmida Reyaz (b.1946), on the other,
experimented in form and technique, bringing in new diction and finding a
place for new experiences. The new poem had come into being;
modernism had firmly established itself by the mid-1970s.
Shaabkhoon, a literary journal, projected this movement in a big way and
identified the poets of the new order. Ever since its inception in 1966, it
has done a singular job -- especially during the vital 60s and 70s -- of
creating a taste for modernism. Shamsur Rehman Farooqi, the most
perceptive of the modern Urdu critics, played a vital role in helping
recognize the contours of modernism with his critical studies. his studies
appraising modern poets, as well as classical poets who bear upon the
modern tradition, developed sound critical theories and helped in creating
an atmosphere for the acceptance and appreciation of modernism.

24. Tabulation and Quantitative Analysis
In the study of my project related to the Acceptance of ETV Urdu in
Hyderabad & Secunderabad, the method applied by the researcher to get
the responses was ‘Random Sampling Method’.
1. Do you like to watch T.V. Programmes?
TV Viewers No.of Respondent Percentage
Yes 367 96.3
No 13 3.4
2. Which type of TV set do you have in your home?
Type of TV set No.of Respondent Percentage
Color 333 87
B/W 43 13
3. What’s the channel you watch most?
Top Channels No.of Respondent Percentage
Star TV 187 49
Zee TV 49 13
Sony TV 115 30
Others 68 18
4. What is the significance of Urdu to you?
Significance of Urdu No.of Respondent Percentage
Language 43 11
Culture 92 24
Identity 111 29
All 127 33
None 15 4

25. 5. Have you seen ETV Urdu?
ETV Viewers No.of Respondent Percentage
Yes 341 89
No 38 9
6. Do you get this channel at your home?
Channel Connectivity No.of Respondent Percentage
Yes 337 88
No 40 10
7. On Which band, cable operator provide you this channel?
Prime Band of Respondent
No. Percentage
Connectivity on Band
Prime Band 63 17
S-Band 152 40
Don’t Know 145 38
8. Do you watch regularly ETV Urdu?
Regular ETV Viewers No.of Respondent Percentage
Yes 233 61
No 142 37
9. Do you like the ETV Urdu Programmes?
Do they like it No.of Respondent Percentage
Yes 333 87
No 41 11

26. 10. Which is your favorite genre?
Favorite Genre No.of Respondent Percentage
Family soap 93 24
Comedy 161 42
Thrill / Action 50 13
Suspense 69 18
Cartoon 36 9
None of these 16 4
11. Why do you like this Programme?
Why they like No.of Respondent Percentage
Presentation. 117 31
Actors/ anchors. 46 12
Timings. 30 8
Story 77 20
All 43 11
None 15 4
12. When do you watch this channel?
Time when they WatchNo. of Respondent Percentage
Morning 68 18
After Noon 41 11
Evening 175 46
Night 130 34

27. 13. Who watch ETV Urdu Programmes in your family other than you?
Other No. of Respondent
Family Percentage
Members
Father 40 10
Mother 45 12
Sisters/Brothers 47 12
Other 22 6
All family members 206 54
None 31 8
14. What do you find in ETV Urdu, which you don’t find in other Hindi
channels?
Reason to watch No. of Percentage
ETV Urdu Respondent
Culture & Tradition 120 31
Language 90 24
Entertainment 55 14
Knowledge 56 15
All 60 16
None. 21 6
15. Suppose the story of your most favorite serial on other channel e.g. Star, Sony. Zee
TV etc. are also to be the story of a serial with Urdu speaking characters and
telecast simultaneously on ETV Urdu. Which one could you prefer to watch?
Channel Prefer No. of Respondent Percentage
ETV Urdu 270 71
Other Channel 97 25

28. 16. What do you find missing in this channel?
They miss in ETVof Respondent
No. Percentage
Urdu
Quality 58 15
Presentation 41 11
Popularity 152 40
Others 26 68
All 32 8
None 63 16
17. Do you watch the News bulletins?
News Bulletins No. of Respondent Percentage
Viewers
Yes 292 77
No 86 22
18. Which News bulletins do you like the most?
Favorite Bulletin No. of Respondent Percentage
Khabar Naama 120 31
Khabraen 81 21
Khaas baat 113 30
19. Which Other T.V. channel, do you think can give similar entertainment value?
Channel Which of Respondent
No. Percentage
Provide
Star Plus 192 50
Zee T.V. 38 10
Sony T.V. 91 24
Sahara T.V. 63 16
Others 37 10

29. Interpretation
1. Do you like to watch T.V. Programmes?
No
3%
Yes
No
Yes
97%
Interpretation: 95% of Target Audiances like to watch TV Programmes.

30. 2. Which type of TV set do you have in your home?
B/W
11%
Color
B/W
Color
89%
Interpretation: 89% audiences have color TV sets.
3. What’s the channel you watch most?
Others
16%
Star TV Star TV
45% Zee TV
Sony TV
Sony TV
Others
27%
Zee TV
12%
Interpretation: Star TV & Sony TV has highest viewerships.

31. 4. What is the significance of Urdu to you?
None Language
4% 11%
All Language
Culture Culture
32%
24%
Identity
All
Identity None
29%
Interpretation: Mostly all the target group consider Urdu as their
Language,Culture & Identity.
5. Have you seen ETV Urdu?
No
10%
Yes
No
Yes
90%
Interpretation: People are watching ETV Urdu.

32. 6. Do you get this channel at your home?
No
11%
Yes
No
Yes
89%
Interpretation: This channel is reaching to the target audiences.
7. On Which band, cable operator provide you this channel?
Prime Band
18%
Don't Know
Prime Band
40%
S Band
Don't Know
S Band
42%
Interpretation: They get this channel on S-Band.

33. 8. Do you watch regularly ETV Urdu?
No
38%
Yes
No
Yes
62%
Interpretation:This channel has regular viewers.
9. Do you like the ETV Urdu Programmes?
No
11%
Yes
No
Yes
89%
Interpretation: Audiences like the ETV Programmes.

34. 10. Which is your favorite genre?
None
4%
Cartoon Family
8% Soap Family Soap
Suspense 22% Comedy
16% Thrill/Action
Suspense
Thrill/Action
12% Comedy Cartoon
38% None
Interpretation: Comedy and Family soaps are favorite genres.

35. 11. Which Programme you like the most in ETV Urdu.
percentage Of Audiance Favorite
Programs
3%
0%
5% 3%
6% 31%
8%
9%
17% 18%
Aap Ki Pasand
Savera
Time Pass Giri
Bazm-e-Khawateen
Auto Stand
Hamari Zinath
Betiyan/Zohra Mahel/24 Pali Hill
Ulti Ginti
Quran Khwani
Hakimpur.com

36. 12. Why do You like this Programme?
All None Presentation
13% 5% Presentation Anchor/Actor
36%
Timings
Story Story
23% All
Timings Anchor/Actor
9% 14% None
Interpretation: ETV Pogrammes are accepted due to presentation, Story
& Actors/Anchors (e.g. Mr. Jani and Ms Sharaddha Aggrwal for Time
Pass Giri and Aap ki Pasand resp.)
13. When do you watch this channel?
Morning
Night 16%
31% Afternoon Morning
10% Afternoon
Evening
Night
Evening
43%
Interpretation: Large section of audiences watch this channel at evening
hours.

37. 14. Who watch ETV Urdu Programmes in your family other than you?
Father
Father
10%
Mother
None Mother
8% 12% Sister/Brother
Sister/Broth
All Family er Other
members 12%
52% All Family
Other members
6%
None
Interpretation: Mostly all family members like to watch this channel.
15. What do you find in ETV Urdu, which you don’t find in other Hindi
channels?
All None Culture
Culture
15% 5% 30% Language
Entertainment
Knowledge
Knowledge
14%
Language All
Entertainment 22% None
14%
Interpretation: Audiences watch this channel to their culture & Language.

38. 16. Suppose the story of your most favorite serial on other channel e.g. Star,Sony.Zee
TV etc. are also to be the story of a serial with Urdu speaking characters and
telecast simultaneously on ETV Urdu. Which one could you prefer to watch?
Other
Channel
26%
ETV
Other Channel
ETV
74%
Interpretation: Language is the importance factor for acceptance of this
channel.
17. What do you find missing in this channel?
None Quality
17% 16% Quality
All Presentation Presentation
9% 11% Popularity
Others Others
7% All
Popularity None
40%
Interpretation: Audiences miss the popularity from this channel.

39. 18. Do you watch the News bulletins?
No
23%
Yes
No
Yes
77%
Interpretation: News bulletins are accepted.
19. Which News bulletins do you like the most?
Khabar
Khas Baat
Nama Khabar Nama
36%
38%
Khabrein
Khas Baat
Khabrein
26%
Interpretation: Khabar Nama & Khas Baat are the most favorite
bulletins.

40. 20. Which Other T.V. channel, do you think can give similar entertainment value?
Others
9%
Star plusTV
Sahara Star plusTV Zee TV
15% 45% Sony TV
Sony TV Sahara
22% Zee TV Others
9%
Interpretation: Star Plus Providing the same entetainment value.

41. Some suggestions and recommendations to make the ETV Urdu more
Popular
ETV Urdu is the first Urdu TV channel in India. Whereas there are too
many newspapers & magazines published in Urdu language. But in
Electronic media, it is first.
In India,Urdu is so popular that mostly all Hindi speaking people used the
Urdu words in their communications.
- All other TV channels e.g. Star Plus,Zee TV, Sony TV, etc are the Hindi
Channels, But they are not fully Hindi channels. There are too many Urdu
serials and Programmes in that channels.
So, this channel has to think about how to capture the market shares by
popular channels.
Some useful suggestions that I have observed in my research.
 Some Islamic Culture based Programmes in ETV Urdu, e.g. History.
 Programmes on Sufi Saints.
 Marriage based Programmes.
 Improvement in Production Value.
 Connectivity should be proper.
 Some Urdu movies also may be telecast.
 There may be news in Arabic also.
 In Holi month of Ramdhan,if possible, there should be live telecast of
Taravih from Mecca Moazzamma, Saudia Arabia.
 Avoidance of non-Urdu words in Programmes.
 Some selected Qawwals should be entertained.
 Career Programmes also to be telecast.

42. A Project Report
Titled
Acceptance of ETV Urdu in Hyderabad &
Secunderabad.
Done at
Ushakiron Television, Ramoji Film City
Submitted in Partial fulfillment of the
Requirement for the award of
MASTER DEGREE
in Business Administration
(2001-2003)
Under the guidance Submitted by
Dr. H.S. Singh Kalim Ullah
Department of Business Management & Entrepreneurship
Dr. Ram Manohar Lohia Avadh University,
Faizabad,U.P.

43. Contents
 Acknowledgement.
 Company Profile.
 About Urdu
 Introduction (Project)
 Aim & Objectives
 Questionnaire
 Types of Research
 Research Methodology
 Tabulation & Quantitative Analysis
 Interpretation
 Suggestion & Recommendations