USE OF NEW MEDIA IN THE PROMOTION OF CINEMA

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USE OF NEW MEDIA IN THE PROMOTION OF
CINEMA
Submitted by
Neha Khatun
Reg.no. 11PUBC2013
In the partial fulfillment of the requirement for the award of the degree of
Master of Science in Mass Communication
(2011-2013)
Acharya Institute of Graduate Studies
Soladevanahalli, Bangalore- 90

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DECLARATION
I, Neha Khatun hereby declare that this project is prepared by me based on an original study
and research conducted under the guidance of Mr. Shantha Raju S, lecturer, Department of
Journalism and Communication, Acharya Institute of Graduate Studies, Soladevanahalli,
Bangalore.
I further declare that this research has not been submitted to any other University or Institution
for the award of any other degree or diploma.
Date: Signature:
Place:

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ACHARYA INSTITUTE OF GRADUATE STUDIES
Acharya Institutes, Soladevanahalli,
Bangalore-560090
Certificate
Certified that the Master’s Dissertation entitled
“USE OF NEW MEDIA IN THE PROMOTION OF CINEMA” is a bonafide
work carried out by Ms. Neha Khatun bearing 11PUBC2013 in partial fulfillment
for the award of degree of Masters of Science in Communication from the
Bangalore University during the session 2011-2013. I have approved the Masters
Dissertation as it satisfies the academic requirements of the subject.
Signature of the Guide Signature of the Principal Signature of the HOD
Mr. Shantharaju.S Prof.Gurunath Rao Vaidhya Prof. A S Chandra Mouli

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Acknowledgement
The satisfaction and euphoria that escort the successful completion of any chore would
be but incomplete without the mention of the people who made it possible, whose constant
guidance and encouragement crowned our efforts with success.
I wish to place on record my grateful thanks to Mr. Shantha Raju S, Lecturer,
Journalism and Communication department for providing the guidance, support and
encouragement.
I express my sincere gratitude to Prof. AS Chandra Mouli, HOD of Mass Communication
department , Acharya Institute of Graduate Studies for their continues support and guidance.
I express my special thanks to my friends and my fellow mates of Acharya Institute of
Graduate Studies, for their great help. In addition, I thank to both Acharya Institute of Graduate
Studies and Bangalore University for providing me an opportunity to nurture my aspiration.
I also take this honor to thank my family for their boundless support and motivation.
Neha Khatun
(REG NO. 11PUBC2013)

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TABLE OF CONTENTS
S.NO. CHAPTER PAGES
1. INTRODUCTION 6 – 20
2. REVIEW OF LITERATURE 21 – 27
3. METHODOLOGY 28 – 32
4. DATA ANALYSIS 33 – 58
5.
CONCLUSION
59 – 62
6. APPENDIX 63 – 66
7. BIBLIOGRAPHY 67 – 69

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CHAPTER 1
INTRODUCTION

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1.0 Introduction
1.1 Cinema
The history of film began in the late 1800’s with the invention of the first movie camera. It is
now more than 200 years that the world of cinema has had the chance to develop through many
experiments and innovations. Technology has been one of the major contributing factors to the
development of world cinema. Before motion pictures were initially exhibited as a carnival
novelty and developed to one of the most important tools of communication and entertainment,
and mass media in the 20th century and into the 21st century. Most films before 1930 were
silent. Motion picture films have substantially affected the Arts, technology, and politics.
The movie theatre was considered a cheaper, simpler way to provide entertainment to the
masses. Movies became the most popular visual art form of the late Victorian age. It was simpler
because of the fact that before the cinema people would have to travel long distances to see
major dramas or amusement parks. With the advent of the cinema this changed. During the first
decade of the cinema's existence, inventors worked to improve the machines for making and
showing films.
1.2 The Lumiere Brothers and the Cinematography
The Lumieres may not even have been the 'first' to project moving pictures on a screen to a
paying audience; this honor probably belongs to the German Max Skladanowsky, who had done
the same in Berlin two months before the Cinematography famed public exhibition. But despite
being 'scooped' by a competitor, the Lumieres' business acumen and marketing skill permitted
them to become almost instantly known throughout Europe and the United States and secured a
place for them in film history. The Cinematography's technical specifications helped in both
regards, initially giving it several advantages over its competitors in terms of production and
exhibition. Its relative lightness, its ability to function as a camera, a projector, and a film
developer, and its lack of dependence upon electric current all made it extremely portable and
adaptable. During the first six months of the Lumieres' operations in the United States, twenty-
one cameramen.
Projectionists toured the country, exhibiting the Cinematography at vaudeville houses and
fighting off the primary American competition, the Edison Kinetograph. They used a film width
of 35mm, and a speed of 16 frames per second - an industry norm until the talkies. By the advent
of sound film in the late 1920s, 24 fps became the standard.
The first public demonstration of the Lumiere' camera-projector system was made on March 22
1895, in the Lumiere' basement. During the private screening to a scientific conference - a trial
run for their public screening later at the end of the year, they caused a sensation with their first
film, Workers Leaving the Lumiere Factory, although it only consisted of an everyday outdoor
image - factory workers leaving the Lumiere factory gate for home or for a lunch break. As

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generally acknowledged, cinema was born on December 28, 1895, in Paris, France. The Lumiere
brother’s presented the first commercial and public exhibition of a projected motion picture to a
paying public in the world's first movie theatre - in the Salon Indien, at the Grand Cafe on Paris'
Boulevard des Capuchins’. It has often been considered "the birth of film" or "the First Cinema"
since the Cinematography was the first advanced projector (not experimental) and the first to be
offered for sale.
1.3 Georges Melies - French Cinematic Magician
The Lumieres' Cinematography, which showed primarily documentary material, established
French primacy, but their compatriot Georges Melielis became the world's leading producer of
fiction films during the early cinema period. Melies began his career as a conjurer, using magic
lanterns as part of his act at the Theatre RobertHoudin in Paris. Georges Melies, expanded
development of film cinema with his own imaginative fantasy films. When the Lumiere brothers
wouldn't sell him a Cinematography, he developed his own camera, and then set up Europe's first
film studio in 1897. It was the first movie studio that used artificial illumination, a greenhouse-
like structure that featured both a glazed roof and walls and a series of retractable blinds. It was
an influential model on the development of future studios. Parisian French film-maker Georges
Méliès first film based on a trick of substitution was Escamotage d'une dame au theater Robert
Houdin (1896). The roots of horror films may also be traced back to Georges Méliès' two-minute
short film Le Manoir du Diable (1896) although it was meant to be an amusing, entertaining
film.
Melies became the film industry's first film-maker to use artificially-arranged scenes to construct
and tell a narrative story, with his most popular and influential film to date, Cendrillon (1899).
He created about 500 films and screened his own productions in his theatre. Melies wrote,
designed, directed, and acted in hundreds of his own fairy tales and science fiction films, and
developed techniques such as stop-motion photography, double and multiple-exposures, time-
lapse photography, "special effects" such as disappearing objects and dissolves/fades. In late
1911, he contracted with French film company Path to finance and distribute his films, and then
went out of business by 1913. An illusionist and stage magician, and a wizard at special effects,
Melies exploited the new medium with a pioneering, 14-minute science fiction work, Le Voyage
Dan’s la Lune - A Trip to the Moon (1902). It was his most popular and best-known work,
with about 30 scenes called tableaux.
1.4 Edwin S. Porter - the "Father of the Story Film"
Inventor and former projectionist Edwin S. Porter (1869-1941), who in 1898 had patented an
improved Beadnell projector with a steadier and brighter image, was also using film cameras to
record news events. Porter was one of the resident Kinetoscope operators and directors at the
Edison Company Studios in the early 1900s, who worked in different film genres. Porter was
hired at Edison's Company in late 1900 and began making short narrative films, such as the 10-

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minute long Jack and the Beanstalk (1902). He was responsible for directing the six-minute
long The Life of an American Fireman (1903) - often alleged to be the first American
documentary, docudrama, fictionalized biopic or realistic narrative film, with non-linear
continuity. It combined re-enacted scenes, the dreamy thoughts of a sleeping fireman seen in a
round iris or 'thought balloon', and documentary stock footage of actual fire scenes, and it was
dramatically edited with inter-cutting (or jump-cutting) between the exterior and interior of a
burning house. Edison was actually uncomfortable with Porter's editing techniques, including his
use of close-ups to tell an entertaining story.
1.5 The Great Train Robbery (1903)
With the combination of film editing and the telling of narrative stories, Porter produced one of
the most important and influential films of the time to reveal the possibility of fictional stories on
film. The film was the one-reel, 14-scene, approximately 10-minute long The Great Train
Robbery (1903) - it was based on a real-life train heist and was a loose adaptation of a popular
stage production. In an effective, scary, full-screen close-up, a bandit shot his gun directly into
the audience. The film also included exterior scenes, chases on horseback, actors that moved
toward the camera, a camera pan with the escaping bandits, and a camera mounted on a moving
train.
1.6 The First Feature-Length Films
In the early years of cinema, film producers were worried that the American public could not last
through a film that was an hour long, thereby delaying the advent of feature films (60-90 minutes
in length) in the US. According to most sources, the first continuous, full-length narrative feature
film was writer/director Charles Tait's five-reel biopic of a notorious outback folk hero and
bushranger, The Story of the Kelly Gang (1906, Australia), with a running time of between 60-
70 minutes. Only fragments of the film survive to this day. Australia was the only country set up
to regularly produce feature-length films prior to 1911.
1.7 D. W. Griffith-Early Film Pioneer at Biography
The greatest American pioneer/auteur in early film was Kentucky-born David Wark (D. W.)
Griffith, "the master storyteller of film" or "the father of film". He was known as the first
cinematic auteur or storyteller who gave future film-makers the 'grammar' of film-making. An
unsuccessful young stage actor and writer, he had appeared in Edwin S. Porter's and Thomas
Edison's Rescued From the Eagle's Nest (1907) and other one-reelers, such as Her First
Adventure (1908), Caught by Wireless (1908), and At the French Ball (1908).
Inspired by the experience, Griffith joined The American Mutoscope and Biograph Company in
New York City as a director in 1908, where he remained until 1913. He was expected to
direct/produce two one-reel films each week - a prodigious rate. Griffith's first contracted film,
released by Biography, was the 12-minute The Adventures of Dollie (1908), adapted from Frank

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Norris' novel The Octopus and his story "A Deal in Wheat," followed by the one-reel The Red
Man and the Child (1908), the first of his films to be reviewed by Variety. He went on to direct
over 60 short films the following year, such as the 14-minute A Corner in Wheat (1909) - based
on Frank Norris' 1903 novel The Pit. D.W. Griffith directed the first film made in the small
village of Hollywood north of LA, In Old California (1910), a Biography "Latino" melodrama.
He also made Fighting Blood (1911) and Under Burning Skies (1912), although his name never
appeared in the credits. His early films were mostly westerns, urban life dramas, romances,
comedies, 'ride-to-the-rescue' crime stories, Civil War era melodramas, historical epics, social
commentaries and adventure tales. Two of his Biography films included the 18-minute urban
gangster film The Musketeers of Pig Alley (1912) (with notable menacing close-ups) and the
early 29-minute western The Battle at Elderbush Gulch (1913).
In many of these short films, he realized the potential of the new film medium, with his
cameraman Billy Bitzer. He experimented with early lighting and camera techniques closeups,
fade-outs, varied shot depths including establishing shots, far shots and medium shots,
backlighting, naturalistic, low-key light sources, increased use of locations, etc. and systematized
their use - and would later bring them to artistic perfection in order to shape the film's narrative.
In the one-reel chase film The Lonely Villa (1909) with Mary Pickford, Griffith employed his
most sophisticated use to date of the cinematic technique of "cross-cutting" to build up tension
within scenes. He also used the same technique with rapid editing in The Girl and Her Trust
(1912) - another film with a suspenseful last-minute action sequence of a rescue (a Griffith
trademark). The film also featured outdoor filming, and an early use of a tracking shot of a train.
He also trained and created his own company or stock of 'players' - including such newcomers as
Lillian and Dorothy Gish, Mary Pickford, Blanche Sweet, Mae Marsh, Harry Carey, Henry B.
Walthall, Mack Sennett, Florence Turner, Constance Talmadge, Donald Crisp, and Lionel
Barrymore. Biography insisted that the actors' names remain uncredited. Griffith's 15-minute,
one-reel thriller An Unseen Enemy (1912) introduced two young actresses: Dorothy and Lillian
Gish to the screen, as they were menaced by a closeup of a gun pointed at them - and at the
camera to scare the audience.
Contributing to the modern language of cinema, he used the camera and film in new, more
functional, mobile ways with composed shots, traveling shots and camera movement, split-
screens, flashbacks, cross-cutting (showing two simultaneous actions that build toward a tense
climax), frequent closeups to observe details, fades, irises, intercutting, parallel editing,
dissolves, changing camera angles, soft-focus, lens filters, and experimental/artificial lighting
and shading/tinting. Toward the end of his time at Biograph, his most artistic film was the two-
reel, 23-minute The Mothering Heart (1913) with Lillian Gish in an early lead role.

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1.8 Warner Brothers History
The Warner brothers (Harry, Albert, Sam, and Jack), originally soap salesmen in Youngstown,
Ohio, visited nearby Pittsburgh, PA and realized the potential of nickelodeons. In 1904 they
founded the Pittsburgh-based Duquesne Amusement Supply Company - reportedly the first film
exchange or distribution company in the US. They bought a used Edison Kinetoscope projector,
and toured through W. Pennsylvania and Ohio to exhibit film, also opened their first silent film
theatre, the 99-seat Cascade Theatre, in the mining town of New Castle, Pennsylvania in 1907,
which they operated until 1911. In 1912, Sam Warner opened a film production office in Los
Angeles, Warner Bros. Pictures, and formally incorporated in 1923. Soon, successful exhibitors
turned their profits back into their businesses and were able to provide additional amenities for
their viewership, including comfortable seats, pre-show entertainment, peanuts/popcorn for sale,
and accompanying pianists and orchestras for the silent films.
1.9 Charles Chaplin
The first truly great film star was British vaudevillian actor Charlie Chaplin - he began working
as an apprentice for Sennett in 1913, playing small parts as a Keystone Kop. In 1914, he debuted
his trademark mustached, baggy-pants "Tramp" character in Kid Auto Races At Venice (1914)
and appeared in his first Mack Sennett short comedy Making a Living. In the same year, Chaplin
appeared in the six-reel Tillie's Punctured Romance (1914), Sennett's first feature-length picture
(and the first US multi-reel comedy feature). Charlie Chaplin also added his famous walk to his
familiar tramp character in The Tramp (1915), created under the Essanay Company. He soon
began directing, writing, producing, and starring in his own films. Having perfected his Little
Tramp character by mid-decade, Chaplin left Sennett in 1916 and began working for the Mutual
Film Corporation, making short films such as The Rink (1916), The Pawnshop (1916), The
Immigrant (1917) and Easy Street (1917). He also built his own studio, Charlie Chaplin Studio,
in Hollywood in 1917. Soon afterwards, Chaplin signed the first million-dollar film contract in
1918 with First National Pictures and made The Kid (1921). While at First National, the highest-
paid film super-stars Charlie Chaplin and Mary Pickford feared that their film company was soon
to be merged with giant Paramount, and hence they would lose autonomy over their careers. To
take control of their own work, in another precedent-setting move in 1919, Charlie Chaplin and
Mary Pickford joined with director D. W. Griffith and fellow actor Douglas Fairbanks, Sr. to
form their own movie company -United Artists Corporation. They built a studio on Formosa
Avenue at Santa Monica Boulevard [the present day site of the Warner's Hollywood lot]. UA
became a prestigious firm distributing only independently-produced films. Their aim was to
provide greater independence for distribution of their films (and those of other stars including
Buster Keaton, Rudolph Valentino, and Gloria Swanson) and to thwart the efforts of the bigger
studios.

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1.10 The breaking of Silent Era
End of the silent era of films came when Warner Brothers produced and debuted The Jazz Singer
1927, the first widely-screened feature-length talkie or movie with dialogue. The musical,
starring popular vaudevillian Al Jolson, had accompanying audio (with a sound-on-disc
technology) which consisted of a few songs by Jolson and a few lines of synchronized dialogue.
In his nightclub act in the film, Jolson presented the movie's first spoken ad-libbed words: "Wait
a minute, wait a minute, you aren’t heard nothing yet." The film had about 350 spontaneously
ad-libbed words.
1.11 German Expressionism and Its Influence
An artistic movement termed Expressionism was established in the prolific European film-
making industry following World War I. It flourished in the 1920s, especially in Germany in a
'golden age' of cinema, due to fewer restrictions and less strict production schedules.
Expressionism was marked by stylization, dark shadows and dramatic chiaroscuro lighting,
visual story-telling, grotesque characters, distorted or slanted angular shots and abstract sets.
Leading directors utilizing these new unconventional, atmospheric and surrealistic dramatic
styles included G.W. Pabst Pandora's Box (1928), Paul Leni 'old dark house' film The Cat and
the Canary (1927) and Universal's The Man Who Laughs (1928).
1.12 MELODRAMA, COMEDY, MODERNISM
During the silent period most of the genres emerged that were to characterize the cinema
throughout the studio period - crime films, Westerns, fantasies, etc. Of the classic genres only the
musical, for obvious reasons, was absent, though many films were made for no synchronized
musical accompaniment. Overarching the generic categories into which films were grouped for
marketing purposes, however, the films of the silent period can be categorized under two main
'modes', the comic and the melodramatic. The term melodrama is used by film scholars to
designate two types of film in particular those which show a clear historical descent from 19th
century theatrical melodrama, and the sagas of love and family life that had such a powerful
presence in Hollywood in the 1930s, 1940s, and 1950s. These uses are not strictly compatible,
since the two types of film have few particular features in common. Early film melodrama was
highly gestural and involved the accent uating of moral and dramatic values around characteristic
motifs -- heroes spurred to action by revelations of unspeakable villainy, leading to last-minute
rescues of innocent heroines. These features are all somewhat attenuated in the socalled
melodramas of the later period, and are instead to be found more often in action films than in the
increasingly psychological dramas of the 1930s and after. Links between the two are to be found
in the work of D. W. Griffith, who formalized the means for inserting melodramatic values into
the flow of cinematic narrative and gave the conventional melodrama a measure of psychological
depth; and in that of Frank Borzage, who, in Humoresque ( 1920), 7th Heaven ( 1927), and other
films, turned stock figures of melodrama into characters driven by preternatural inner strength.

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The MGM costume department in 1928 More generally, the American cinema in the 1920s had
great difficulty in liberating itself from the narrative schemas of theatrical melodrama and its
Griffithian continuation in the cinema. With the steady increase in the length of films from about
1913 onwards – from three or four reels to six or even more in the post-war period -- filmmakers
were able to turn to stories of broader scope and greater complexity, often in the form of
adaptations of novels. Despite the refinement of narrative technique, however, it was rare for this
opportunity to be translated in the direction of realistic and nuanced character development.
Rather narratives became clotted with incident, while the characters to whom the incidents
happened continued to be drawn in schematic terms. In Rex Ingram's acclaimed Four Horsemen
of the Apocalypse ( 1921), for example, the main characters and the values they represent are
proclaimed in the intertitles early in the film and typified in appearance and gesture throughout
the action, which is spread over several decades. Although the moral values of Griffith's
melodramas, and their embodiment in scowling villains, luckless heroes, and perennially
threatened.
1.01 History of Indian Cinema
1.02 Pre-cinema age
Telling stories from the epics using hand-drawn tableaux images in scroll paintings, with
accompanying live sounds have been an age old Indian tradition. These tales, mostly the familiar
stories of gods and goddesses, are revealed slowly through choreographic movements of painted
glass slides in a lantern, which create illusions of movements. And so when the Lumire brothers'
representatives held the first public showing at Bombay Watson's Hotel on July 7, 1896, the new
phenomenon did not create much of a stir here and no one in the audience ran out at the image of
the train speeding towards them, as it did elsewhere. The Indian viewer took the new experience
as something already familiar to him.
Harischandra Sakharam Bhatwadekar, who happened to be present for the Lumiere presentation,
was keen on getting hold of the Lumiere Cinematograph and trying it out himself rather than
show the Lumiere films to a wider audience. The public reception accorded to Wrangler
Paranjpye at Chowapatty on his return from England with the coveted distinction he got at
Cambridge was covered by Bhatwadekar in December 1901- the first Indian topical or actuality
film was born. In Calcutta, Hiralal Sen photographed scenes from some of the plays at the
Classic Theatre. Such films were shown as added attractions after the stage performances or
taken to distant venue where the stage performers could not reach. The possibility of reaching a
large audience through recorded images which could be projected several times through
mechanical gadgets caught the fancy of people in the performing arts and the stage and
entertainment business. The first decade of the 20th century saw live and recorded performances
being clubbed together in the same programmers. The strong influence of its traditional arts,
music, dance and popular theatre on the cinema movement in India in its early days is probably

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responsible for its characteristic enthusiasm for inserting song and dance sequences in Indian
cinema, even till today.
1.03 Dada Saheb Phalke
Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as
the 'father of Indian Cinema'. He has directed more than100 silent films mostly mythological.
Dada Saheb Phalke, with his imported camera, exposed single frames of a seed sprouting to a
growing plant, shot once a day, over a month-thus inadvertently introducing the concept of 'time-
lapse photography', which resulted in the first indigenous 'instructional film'- The Birth of a Pea
Plant (1912). This film came very handy in getting financial backing for his first film venture.
Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images
of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on
the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the
scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912.
The first full-length story film of Phalke was completed in 1912 and released at the Coronation
cinema on April 21, 1913, for special invitees and members of the Press. The film was widely
acclaimed by one and all and proved to be a great success. Raja Harishchandrawas kept up by
Phalke with a series of mythological films that followed - Mohini Bhasmasur (1914), significant
for introducing the first woman to act before the cameras - Kamalabai Gokhale. The significant
titles that followed include - Satyawan Savitri (1914), Satyavadi Raja
Harischandra (1917), Lanka Dahan (1917) Shri Krishna Janma(1918) and Kalia Mardan (1919).
In his film all the female character was enacted by men.
1.04 Regional Cinema
The first film in Southern India was made in 1916 by R Nataraja Mudaliar- Keechaka Vadham.
As the title indicates the subject is again a mythological from the Mahabharata. Another film
made in Madras - Valli Thiru-Manam (1921) by Whittaker drew critical acclaim and box office
success. Hollywood returned Ananthanarayanan Narayanan founded General Pictures
Corporation in 1929 and established filmmaking as an industry in South India and became the
single largest producer of silent films. Kolhapur in Western Maharashtra was another centre of
active film production in the twenties. In 1919 Baburao K Mistry formed the Maharashtra Film
Co. with the blessings of the Maharaja of Kolhapur and released the first significant historical -
Sairandhari (1920) with Balasheb Pawar, Kamala Devi and Zunzarrao Pawar in stellar roles.
Because of his special interest in sets, costumes, design and painting, he chose episodes from
Maratha history for interpreting in the new medium and specialised in the historical genre.
Indians was humorously brought out by Dhiren Ganguly in his brilliant satirical comedy -
England Returned (1921) - presumably the first 'social satire' on Indians obsessed with Western
values. And with that another genre of Indian cinema known as 'the contemporary social' slowly
emerged. Baburao Painter followed it up with another significant film in 1925 - Savkari

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Pash (The Indian Shylock) - an attempt at realistic treatment of the Indian peasant exploited by
the greedy moneylender.
In Bengal, a region rich in culture and intellectual activity, the first Bengali feature film in 1917,
was remake of Phalke's Raja Harishchandra. Titled Satyawadi Raja Harishchandra, it was
directed by Rustomjee Dotiwala. Less prolific than Bombay based film industry, around 122
feature films was made in Calcutta in the Silent Era.
The first feature film in Tamil, also the first in entire South India, Keechakavatham was made
during 1916-17, directed by Nataraja Mudaliar. Marthandavarma (1931) produced by R Sunder
Raj, under Shri.Rajeswari Film, Nagercoil, directed by P V Rao, got into a legal tangle and was
withdrawn after its premiere. Based on a celebrated novel by C V Raman Pillai, the film recounts
the adventures of the crown prince and how he eliminates the arch-villains to become the
unquestioned ruler of the Travancore State. The film has title cards in English and Malayalam,
some of which are taken from the original text. A few of the title cards and action make obvious
reference to the Swadeshi Movement of the time. Had it not been for the legal embargo, the film
would have had a great impact on the regional cinema of the South.
1.05 Indian Cinema Starts Talking
In the early thirties, the silent Indian cinema began to talk, sing and dance. Alam Ara produced
by Ardeshir Irani (Imperial Film Company), released on March 14, 1931 was the first Indian
cinema with a sound track. In 1930’s Bombay with all the facility has became the hub of the
Indian film industry having a number of self-contained production units. With number of hits
like Madhuri (1932) Indira, MA (1934) Anarkali (1935), Miss Frontier Mail (1936), and Punjab
Mail (1939).
1.06 V.Shantaram
Among the leading filmmakers of Mumbai during the forties, V Shantaram was arguably the
most innovative and ambitious. From his first talkie Ayodhya ka Raja (1932) to Admi (1939), He
dealt with issues like cast system, religious bigotry and women's rights. Even when Shantaram
took up stories from the past, he used these as parables to highlight contemporary situations.
While Amirt Manthan (1934) opposed the senseless violence of Hindu rituals, Dharmatama
(1935) dealt with Brahmin orthodoxy and cast system. Originally titled Mahatma, the film was
entirely banned by the colonial censor on the ground that it treated a sacred subject irreverently
and dealt with controversial politics. Amarjyoti (1936) was an allegory on the oppression of
women in which the protagonist seeks revenge. It could perhaps be called the first women's lib
film in India. Duniya Na Mane (1937) was about a young woman's courageous resistance to a
much older husband whom she had been tricked into marrying. Admi (1939) was one of
Shantaram's major works.

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1.07 Calcutta film Industry
Madan Theatres of Calcutta produced Shirin Farhad and Laila Majnu (1931) well composed and
recorded musicals. Both films replete with songs had a tremendous impact on the audience and
can be said to have established the unshakeable hold of songs on our films. Chandidas (1932,
Bengali), the story of a Vaishnavite poet-priest who falls in love with a low caste washerwoman
and defies convention, was a super-hit. P C Barua produced Devdas (1935) based on Sarat
Chandra Chattopadhyay famous story about frustrated love, influenced a generation of viewers
and filmmakers.
1.08 The South Indian Cinema
Tamil cinema emerged as a veritable entertainment industry in 1929 with the creation of General
Picture Corporation in Madras (Chennai). Most of the Tamil films produced were multilingual
productions, with versions in Telugu, Malayalam and Kannada until film production units were
established in Hyderabad, Trivandrum and Bangalore. The first talkie of South India, Srinivas
Kalyanam was made by A Narayanan in 1934.
1.09 The Golden Fifties
Fifties saw the rise of great directors like Mehboob, Bimal Roy, Guru Dutt and Raj Kapoor who
changed the fate of Indian cinema. These directors entered the film industry during the 1930s and
'40s, which were traumatic years for the Indian people. The fight for independence, famines,
changing social mores, global fight against fascism all contributed to the ethos in which the
directors grew up.
1.10 Bimal Roy
Born in Dhaka, Bangladesh, Bimal Roy entered the field of cinema as a camera assistant. His
directorial debut was with Udayer Pathey (1944). He introduced a new era of post World War
romantic-realist melodramas that was an integration of the Bengal School style with that of De
Sica. Do Bigha Zamin (1953) and Sujata were two of the most notable films of Bimal Roy, who
basically was a reformist, a humanist liberal. Do Bigha Zamin was one of the Indian first films to
chart mass migration of rural people to cities and their degradation in urban slums. Though the
situation was tragic, Roy sought to relieve the starkness by brave and hopeful songs and
dances. Sujata dealt with the disturbances created to a lost soul from the world of untouchable
underclass who escaped accidentally to the world of the urban middle class.
1.11 Guru Dutt
Born in Bangalore and educated in Calcutta, Guru Dutt entered into the Hindi film industry as an
actor. He took up the job of choreographer and assistant director before his directorial
debut Baazi. His earlier films were entertainers like Aar Paar (1954), Mr and Mrs 55 (1955) and
C I D (1956). With the darkly romantic Pyaasa (1957) Duttt launched a cycle of films that have

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remained India's most spectacular achievements in melodrama. Kaagaz Ke Phool (1959) the first
Indian film made in Cinemascope was autobiographical in nature. It tells in flashback the story
of a famous film director, his disastrous marriage, the entry of an actress into his life that leads to
gossiping, his failure as a director and eventually his death. His work encapsulated with great
intensity the emotional and social complexities affecting the artist at a time when the reformism
associated with Nehruite nationalism disintegrated under the pressure of industrialism and
urbanisation. The commercial failure of Kaagaz Ke Phool resulted in a real life repetition of the
plot of his film when Guru Dutt committed suicide in 1964.
1.12 Raj Kapoor
Born in Peshwar, now in Pakistan as son of Prithviraj Kapoor, Raj Kapoor acted the role of a
megastar, successful producer and a director. He started as a clapper-boy in the Hindi film
industry and latter became one of the most successful directors of the industry. He set up the R K
Films in 1948 and made his first directorial venture Aag. His earlier films Awara (1951) and Shri
420 (1955) evince a sentimental approach to social reforms, presenting political Independence as
a loss of innocence in exchange of stability. Later he made sexually explicit films
like Bobby (1973) and Satyam Shivam Sundaram (1978), which became huge hits, after the
commercial failure of his most ambitious project Mera Naam Joker (1970).
1.03 Recent Trends
1 Online Promotion
Existing literature on commercial Web sites reveals various assumptions about the effectiveness
of online advertising. Dou and Krishnamurthy (2007) compare Web sites of product and service
brands through a content analysis of 219 brand Web sites. Their results indicates that
accounting firms (service) used their Web sites for corporate-image building and as
information sources, whereas drinks and candies firms (product) used Web sites to build
customer relationships through interactivity. Although this descriptive study only examined two
product categories and collected no direct consumer attitudes, the results show how product and
service Web sites are currently being used. However, the study does not indicate whether
consumers respond positively to these strategies.
Measuring consumer response has become an important task for online marketers to
quantify the effectiveness of promotions better. Chen and Wells (1999) first address the need
to measure consumer reactions to Web sites operationally. Using judged ratings for 120 Web
sites, the researchers created a scale to measure attitude toward a Web site, based on the attitude
toward ad scale. The scale, quantifying the variables of entertainment, in formativeness, and
organization, provides a tool to evaluate the effectiveness of Web sites. Results of the study
indicate that subjects prefer Web sites that are organized, engaging, and relevant. This research
provides background about Web sites that serve commercial purposes and how consumers
respond to them.

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2 Promotion on Social Networks:
Social networks are an increasingly powerful force in mediated communication. However,
research conducted to date has been primarily descriptive. Goldsborough (2009) examined
several media trends that the JWT advertising agency reported in its annual forecast. One of the
foremost conclusions is the predicted decline of e-mail usage, which JWT attributes to younger
people's preference for text messaging and communicating through social networks. In addition,
the agency cites the increasing number of social networking sites, introduction of professional
social networking sites such as LinkedIn, and increase in micro-blogging using programs such as
Twitter.
The evolution of social networks allows for personalized interactions between advertisers and
consumers. Although social networks were first adopted by teenagers, a growing population of
25 to 34-year-olds and white collar professionals use them, which demonstrates the applicability
of social networks to everyday life (Kim 2008). This growing trend has vast implications for
advertisers and executives. With the recent growth of consumer-generated media and the
increasing popularity of social networking sites (Cheong and Morrison 2008), advertisers are
seeking ways to exploit this new medium.
In predicting that Web 2.0 and the Internet would be the marketing tactics of the future,
Cooke and Buckley (2008) identify several trends regarding the growing use of online social
networks: the increase in the open source movement through shared intellectual property, the
emergence of Web 2.0, and an increase in the number of online social networks and user-
generated content (UGC).
1.04 Origin of Internet
1 New media
Its popularly called as New media because it refers to on-demand access to content anytime,
anywhere, on any digital device, as well as interactive user feedback, creative participation.
Another aspect of new media is the real-time generation of new.
Most technologies described as "new media" are digital, often having characteristics of
being manipulated, networkable, dense, compressible, and interactive. Some examples may be
the Internet, websites, computer multimedia, video games, CD-ROMS, and DVDs. New media
does not include television programs, feature films, magazines, books, or paper-based
publications.

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2 History of Internet
The history of the Internet began with the development of electronic computers in the 1950s. The
public was first introduced to the concepts that would lead to the Internet when a message was
sent over the ARPA Net from computer science Professor Leonard Kleinrock's laboratory at
University of California, Los Angeles (UCLA), after the second piece of network equipment was
installed at Stanford Research Institute (SRI). Packet switched networks such as
ARPANET, Mark I at NPL in the UK, CYCLADES, Merit Network, Tymnet, and Telenet, were
developed in the late 1960s and early 1970s using a variety of protocols. The ARPANET in
particular led to the development of protocols for internetworking, in which multiple separate
networks could be joined together into a network of networks.
In 1982, the Internet protocol suite (TCP/IP) was standardized, and consequently, the concept of
a world-wide network of interconnected TCP/IP networks, called the Internet, was introduced.
Access to the ARPANET was expanded in 1981 when the National Science Foundation (NSF)
developed the Computer Science Network (CSNET) and again in 1986 when NSFNET provided
access to supercomputer sites in the United States from research and education organizations.
Commercial Internet service providers (ISPs) began to emerge in the late 1980s and early 1990s.
The ARPANET was decommissioned in 1990. The Internet was commercialized in 1995 when
NSFNET was decommissioned, removing the last restrictions on the use of the Internet to carry
commercial traffic.
Since the mid-1990s, the Internet has had a revolutionary impact on culture and commerce,
including the rise of near-instant communication by electronic mail, instant messaging, Voice
over Internet Protocol (WOIP) "phone calls", two-way interactive video calls, and the World
Wide Web with its discussion forums, blogs, social networking, and online shopping sites.
3 Internet in India
Before the appearance of VSNL's GIAS, Internet had been in India for many years in the form of
ERNET. However, it was not possible for many people to get access to it, as it was meant for
only the educational and research communities. This followed the policy laid down by the
American Internet manager NSF, at that time.
Internet in India was established almost 20 years ago, as ERNET. It was a joint undertaking of
the Department of Electronics (DOE) of the Government of India, and the United Nations
Development Program (UNDP), which provides technical assistance to developing nations.
ERNET is one of the most successful operations that UNDP has funded. It established for India
the idea that we can participate in the Internet. Currently ERNET operates many nodes and has a
64 Kbps link to USA via Mumbai.
All major nodes of ERNET are connected to each other using 9600 bps leased lines. These lines
are being upgraded to 64 Kbps links. Over 200 academic and R&D groups exchange email with

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each other using ERNET. Over 8000 scientists and technologists have access to ERNET
facilities. International access is provided over a 64 Kbps leased line, from NCST, Mumbai, to
USA. Plans for ERNET include the creation of a satellite communication system to enable
ERNET to reach locations, which do not have good data communication links.
On August 15 1995, Videsh Sanchar Nigam Limited (VSNL) the Indian international trunk
telephone carrier company launched the Gateway Internet Access Service (GIAS). Subsequently,
6 nodes were established at Mumbai, Delhi, Madras, Calcutta, Bangalore and Pune. Each GIAS
node is connected to Internet via high speed MCI circuits having a bandwidth of approximately
10 Mbps.
Users in remote areas of India can reach GIAS service via I-NET. The Department of
Telecommunication (DOT) has a widespread network in India called I-NET, which has direct
connectivity to each GIAS node. You can access GIAS from 99 cities in India by this means.

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CHAPTER 2
Review of Literature

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2.1 Literature Review
This study examines a relatively new online advertising tactic: the use of social network
platforms for promotional messages. First, we examine past movie marketing literature to
provide a foundation for our analysis of a new movie marketing tactic.
Second, because this study analyzes an online promotional contest, we review past literature
involving traditional promotional contests and their effectiveness. Third, we analyze existing
promotional research on the use of Web sites and social networks. We also include literature
examining the influence of Web site interactivity on consumers.
2.2 Movie Marketing
Past research on movie marketing has mostly focused on the effect of promotions on box
office revenue (Cooper-Martin 1992; Hu, Li, and Nelson 2005; Zufryden 1996, 2000).
Cooper- Martiz (1992) examines the issue when studying movies as experiential sources.
She classifies information sources as experiential or non experiential, with experiential
sources portraying a similar experience for the consumer as the product. Results indicate
subjects found experiential sources to be more useful and credible than non experiential
sources. Because movies are experiential sources, it would be logical to use an experiential
promotional tactic. Although Cooper- Martin (1992) did not directly reference Web sites
in her study, based on technological advances and the nature of the Internet, we can infer
that Web sites are also experiential sources.
Zufryden (1996, 2000) initially developed the marketing planning model in 1996 to explain the
effects of advertising on overall box office revenue. This model provides the foundation for our
analysis of the effectiveness of official Web sites and social network platforms for movie
promotions. The model involves three stages: Advertising increases awareness of a new film,
awareness affects intent to see the film, and intent to see the new film affects the purchase of
movie tickets and overall box office revenue. Other variables may also influence the process,
including word of mouth, advertising saturation, memory decay, film characteristics, and
distribution level and timing of film release.
Zufryden (1996) developed the model using Lavidge and Steiner's (1961) hierarchy of
effects, which describes the process consumers go through when making purchase decisions.
By functioning through cognitive, affective, and conative behavioral dimensions, consumers
engage in the following process when making purchase decisions: awareness, knowledge, liking,
preference, conviction, and purchase. According to Lavidge and Steiner (1961), different
advertising tactics address the various stages of the hierarchy, thereby stimulating progression
to the final purchase stage. Zufryden's marketing planning model (1996) relates the hierarchy
to the consumer decision process when selecting films to attend. The Internet provides a newer

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vehicle to reach consumers and earn movie sales. Zufryden (2000) reports a relatively
important and statistically significant relationship between Website traffic and box office
revenue. Although other variables such as film rating, time from film release,
production budget, and seasonality also influenced revenue, Zufryden finds that Web sites
could be effective at promoting movies by increasing and maintaining awareness. In addition,
Hu, Li, and Nelson (2005) find, through a survey of college- aged moviegoers, that Web sites
were one of the most effective forms of movie advertising, ranked second only to television
commercials. To gain insight into online movie marketing tactics, we first review literature
about traditional promotional tactics.
2.3 Traditional Promotions: Contests and Sweepstakes
Many advertisers use games, such as contests or sweepstakes, to aid in promotional efforts. Past
research has indicated that these tactics are effective at increasing awareness and short- term
purchase intentions (Prendergast, Shi, and Cheung 2005; Wakefield and Barnes 1996).
Ward and Hill (1991) create a model describing the causes and consequences of promotional
game participation depending on extrinsic and intrinsic values.
Using the stages in Lavidge and Steiner's (1961) hierarchy of effects model-cognition,
affection, and conation-Ward and Hill (1991) show how personal characteristics (e.g.,
demographics, personality, beliefs, past experiences with promotional games) influence a
person's extrinsic and intrinsic desire to participate. This desire ultimately
determines whether the person participates in a promotional game in the future. For their
study, Ward and Hill included as extrinsic values the perceived odds of winning and the
perceived value of the prize. In contrast, the intrinsic values were the psychological
consequences of participating, such as perceived fun and interest. Understanding why people
participate is important to marketers when deciding which promotions to implement.
Wakefield and Barnes (1996) also create a model of sales promotion of leisure services
based on hedonic consumption. According to Wakefield and Barnes's (1996) study, games,
contests, and sweepstakes represent an added value to people seeking leisure services. They
also find that these people are most likely to be involved in hedonic consumption.
Respondents' variety-seeking tendency, loyalty to the service provider, and perceived quality
of the service environment affected their promotion proneness and perceived value of the
service, which in turn affected repatronage intent. Consumers attracted to sales promotions
were less likely to be loyal customers and more likely to use the leisure service infrequently.
This study identifies a set of consumers who are attracted to promotions. However, it also
indicates that the use of promotional tactics may result in disloyal consumers who only choose
a product or service if a promotion is offered. The results of this analysis send a warning to
marketers about overusing promotions, because they may decrease loyalty to a brand.
Hightower, Brady, and Baker (2002) develop Wakefield and Barnes's (1996) hedonic

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consumption model further in their examination of the effect of the service environment
on behavioral intention at minor league baseball games. The analysis of baseball games
provides a similar consumer situation to movie going, because the promotion is focused on
motivating consumers to attend an event. Results from this study indicate that the "services
cape," or service environment, significantly influences behavioral intention.
In a similar study examining grocery store promotions, Prendergast, Shi, and Cheung (2005)
conducted a survey of 206 supermarket shoppers. Their results indicate that sweepstakes and
c o n t e s t s are not e f f e c t i v e in generating behavioral consumer responses, compared
with traditional price reduction promotional tactics. This study provides additional
understanding of consumer motivations and the effectiveness of contest promotions.
Existing literature involving contests and promotions seems to indicate that they should be
used to incite short-term behavior, which is the goal of movie marketers. With an
understanding of why consumers choose to participate in contest promotions and what
influences them to attend continuously, marketers can better understand when to use this
promotional tactic effectively. This section thus provides the theoretical foundation for
promotional contests; the following sections analyze how promotions change when transferred
to the Internet.
2.4 Online Promotion
Existing literature on commercial Web sites reveals various assumptions about the
effectiveness of online advertising. Dou and Krishnamurthy (2007) compare Web sites of
product and service brands through a content analysis of 219 brand Web sites. Their results
indicated that accounting firms (service) used their Web sites for corporate-image building
and as information sources, whereas drinks and candies firms (product) used Web sites to build
customer relationships through interactivity. Although this descriptive study only examined two
product categories and collected no direct consumer attitudes, the results show how product and
service Web sites are currently being used. However, the study does not indicate whether
consumers respond positively to these strategies.
Additional research has proven Web sites to be an effective means to interact with consumers
and receive valuable feedback. In a theoretical essay, Faber, Lee, and Nan (2004) suggest that
people process Web sites centrally due to the high level of involvement participants employ
when using the Internet. Moreover, online users identify product information by attributes, as
opposed to the brands they use in traditional media (Faber, Lee, and Nan 2004). In laboratory
experiments conducted in Thailand and Taiwan, Chen and colleagues (2009) find that
high levels of product involvement lead to more favorable attitudes toward the product's Web
site.
Measuring consumer response has become an important task for online marketers to
quantify the effectiveness of promotions better. Chen and Wells (1999) first address the

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need to measure consumer reactions to Web sites operationally. Using judged ratings for 120
Web sites, the researchers created a scale to measure attitude toward a Web site, based on the
attitude toward ad scale. The scale, quantifying the variables of entertainment, in
formativeness, and organization, provides a tool to evaluate the effectiveness of Web sites.
Results of the study indicate that subjects prefer Web sites that are organized, engaging, and
relevant. This research provides background about Web sites that serve commercial purposes
and how consumers respond to them.
2.5 Web Site Interactivity
Research regarding Web site interactivity further examines the interaction between the user and
the message source. Kiousis's (2002) study is an attempt to create a definition of
interactivity, including theory from communication and non communication literature. The
final definition involves three variables: technological structure of media used (speed, range,
timing flexibility, and sensory complexity), characteristics of communication settings (third-
order dependency and sensory complexity), and individual perceptions (proximity, perceived
speed, sensory activation, and teleprescence).
Most interactivity research has focused on those individual perceptions, and previous
research has identified a need to measure perceived interactivity, recognizing that
consumers perceive sources differently on the basis of individual differences (Jee and Lee
2002; McMillan and Hwang 2002). In an experimental design, Jee and Lee (2002) find that
need for cognition predicts perceived interactivity and attitude toward the site predicts
purchase intention.
Analyzing the impact of interactivity on consumer perception further, Chen, Griffith, and
Shen (2005) conduct an experiment in which they randomly assign subjects to Web sites
with high, medium, and low interactivity. They find people with greater amounts of perceived
interactivity have higher levels of trust and understanding of the Web site. These researchers
also find the relationship affects subjects' offline purchase intentions positively (Chen, Griffith,
and Shen 2005). However, because of the nature of the Web sites tested, the results may be
applicable only to the retail apparel industry.
Further building on Web interactivity research, McMillan and Hwang (2002) develop a
multistage measure of perceived interactivity based on the direction of communication, user
control, and time. Using an experimental design, the researchers randomly assigned subjects to
Web sites with low and high levels of interactivity. Results indicate that perceived interactivity
may be influential for consumer perception and behavior. Using previous research about
perceived interactivity (Jee and Lee 2002; McMillan and Hwang 2002), Wu (2005)
conducted an experiment of 157 students to measure the effects of perceived and actual
interactivity on attitude toward the site. Both actual and perceived interactivity positively
affect attitude toward the site. The study further stresses the importance of using measures of
both forms of Web site interactivity. Furthermore, prior studies on Web site interactivity

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provide a foundation for understanding consumer motivations for interacting with online
promotions.
2.6 Promotion on Social Networks
Social networks are an increasingly powerful force in mediated communication. However,
research conducted to date has been primarily descriptive. Goldsborough (2009) examined
several media trends that the JWT advertising agency reported in its annual forecast. One of the
foremost conclusions is the predicted decline of e-mail usage, which JWT attributes to younger
people's preference for text messaging and communicating through social networks. In addition,
the agency cites the increasing number of social networking sites, introduction of professional
social networking sites such as LinkedIn, and increase in micro-blogging using programs such as
Twitter.
The evolution of social networks allows for personalized interactions between advertisers and
consumers. Although social networks were first adopted by teenagers, a growing population of
25 to 34-year-olds and white collar professionals use them, which demonstrates the
applicability of social networks to everyday life (Kim 2008). This growing trend has vast
implications for advertisers and executives. With the recent growth of consumer-generated
media and the increasing popularity of social networking sites (Cheong and Morrison 2008),
advertisers are seeking ways to exploit this new medium.
In predicting that Web 2.0 and the Internet would be the marketing tactics of the future,
Cooke and Buckley (2008) identify several trends regarding the growing use of online
social networks: the increase in the open source movement through shared intellectual
property, the emergence of Web 2.0, and an increase in the number of online social networks
and user-generated content (UGC). Daugherty, Eastin, and Bright (2008) investigate
consumers' motivations for creating social networks. Implementing an exploratory study with
an online survey, they analyze user attitudes with regard to UGC and find that consumers
increase the amount of their social media usage as their attitudes toward social media improve.
The study implications suggest that advertisers should focus on creating positive
interactions between consumers a n d social networks to improve attitudes toward social
media. With a positive attitude, consumers will be more likely to interact with social media
and create their own content within the network. Such highly involved interactions between
users and the company should provide positive brand experiences that may lead to sales.
With advances in Internet capabilities and social networking sites, Internet users are engaging
in more consumer-to- consumer content sharing. This development has led to the creation of
personalized content recommendations through sites. Applying the information overload and
users and gratifications theory, Liang, Lai, and Ku (2006) conclude that personalized content
services increase user satisfaction when used appropriately. They suggest providing content
recommendations when users need specific information, as opposed to when consumers look

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at general Web sites.
Existing research involving advertising and social networks remains mostly descriptive and
has focused on impression management, friendship performance, networks and network
structure, online/offline connections, and privacy issues (boyd and Ellison 2007). Little
research has directly examined how advertisers use social networks for promotional purposes.
This area of research requires further examination to understand the effectiveness of social
media programs on consumers and their attitudes.
Some businesses create profiles and brand their products in an effort to reach consumers
(Kuhn and Burns 2008). Within MySpace, Kuhn and Burns (2008) find that brands present
advertising, multimedia content and other features to allow consumer interactions with brands.
Many companies also connect offline and online promotions through these branded profiles
including exclusive online promotional offers to increase profile traffic.
Social networks differ from traditional Web sites in the way consumers interact with them,
creating a distinct new area of research. As consumer habits change, there is growing need to
understand how consumers interact on these social platforms. One related area of research
involves word of mouth on the Internet, also known as electronic word of mouth (eWOM),
which is often facilitated through the use of social networks Social networks differ from
traditional Web sites because they function by connecting individual people. This creation of
additional communication channels allows messages to spread quickly by word of mouth on the
Web. Social networks' ability to foster communication makes them unique platforms for
promotions such as contests. Social network platforms foster the exchange of word-of- mouth
messages by creating a virtual community for consumers to interact with one another
(Goldenberg, Libai, and Muller 2001). This environment creates social relationships "when
enough people carry on those public discussions long enough, with sufficient human feeling,
to form webs of personal relationships in cyberspace" (Rheingold 1993). Advertisers have the
opportunity to use this eWOM to their advantage to increase the persuasiveness of their
messages and reach more people.
Previous work has examined the effectiveness of movie marketing, traditional contest
promotional research, and online promotional research. In addition to Web sites, social
networks provide unique platforms for promotions because of their ability to foster eWOM
communications. However, few studies have examined the effects of online promotional
contests or promotional contests within social networking sites. This study examines and
compares the effectiveness of exposure to a branded Web site and a contest hosted on a
social networking site on users' intent to see the film and motivation to see the film on
opening weekend.

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Chapter 3
METHODOLOGY

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3.1 METHODOLOGY
Internet as a new media is the fastest growing medium for promotion. According to the
marketing planning model (Zufryden 1996), online promotion increases awareness of a film and
ultimately should influence the subject’s intent to see the film. Furthermore, according to the
hedonic consumption model, people seeking leisure services to fulfill hedonic needs are not
loyal to the service but use the promotion to make short-term purchase decisions (Wakefield
and Barnes 1996). Because movie going is a low-involvement experience with low associated
costs, movie marketers are interested in influencing consumers’ short-term behavior to see the
film in the movie theater.
3.2 Aims and Objectives
1. To analyze the internet accessibility.
2. To analyze the popular genre.
3. To analyze the familiarity of watching online movies.
4. To analyze the impact of online promotion.
5. To analyze to what extent online promotion can be used for movie promotions.
3.3 Hypothesis
 Social media facilitated the structure of films.
 Online review drives more resulting in more reach.
 Film maker actively using new media for promotional activity.
 Film maker actively using new media for promotional activity.
To accomplishing the set of objectives, the survey method was employed to gather data from the
student and the youth. The gathered data will be analyzed using simple random sampling
mathematical approach and the result will be displayed in tables. The finding shall show how
new media has bought a new trend in promotion of cinema now days.
3.4 Scope and Sample
3.5 Variables considered in the study.
3.6 Measurement of variables.
3.7 Hypothesis for statistical analysis.

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3.4 Scope and Sample
Sample for the study was draw based on Random Sampling Method owing to constrain of time
and resource the size of sample was 100 drawn from four different colleges of Bangalore city, all
the respondents chosen are student studying in either graduate courses or post graduate courses.
They were form different disciplines like ARTs, Science, Commerce, and Engineering.
Since the study revolved around students the age group was between 18 to 25 years. The data
was collected using self administered Questionnaire however before administrating the
significance of each question was explained to the respondents.
3.5 Variables considered for the study
Based on review of literature and discussion with the experts and objectives set for study the
variables selected in categorized into two namely dependent and independent variables. A list of
such selected variables is as follows:
Independent variable
 Age
 Gender
 Educational background
Dependent variable
 Usage of internet.
 Purpose of using internet.
 Preferred genre of movies.
 Accessibility to social networking.
3.6 Measurement of variables
Taking the purpose the study into consideration and the type of research is to be carried out, the
following variables were taken into considerations. These variables are categorized mainly under
two broad categories; they are dependent variable and independent variable. Following are the
different dependent and independent variables:

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Independent variables These variables are those which are constant and usually do not
change. The independent variables taken here for consideration are as follows:
 Age
 Gender
 Educational background
Dependent variable
Usage of internet.
The respondents were asked about their usage of internet an how frequently they
use internet. This was considered as one of the variables in accordance to the subject under
consideration. The respondent was to answer this simple question by ticking
 Daily
 5-6 days a week
 3-5 days a week
 Weekly once
 Fortnightly once
 30 minutes
 1 hour
 2 hours
 3 hours and above
 Can’t say
Purpose of using internet.
The respondents were asked about there purpose for using internet. This was
considered as one of the variables in accordance to the subject under consideration. The
respondent was to answer this simple question by ticking.
 Check mail Browsing.
 Social networking sites.
 To read blogs.
 Chat with Friends

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 Download Movies.
 Academic porous.
 Other (please specify)
Preferred genre of movies.
The respondents were asked about their preferred genre of movies. This was
considered as one of the variables in accordance to the subject under consideration. The
 Action movies.
 Comedy movies.
 Romantic movies.
 Animated movies.
Accessibility to social networking
The respondents were asked about their accessibility to social networking. This
was considered as one of the variables in accordance to the subject under consideration. The
 Promotion in SNS.
 Reading blog of directors.
 Links send to websites.
 Posters.
3.7 Hypothesis Statistical Analysis:-
Following Statistical Tests were used in the study:
Simple percentages:
The percentages were worked to represent the proportion of the respondents to the total sample
considered in the study. This was calculated as frequency of a particular group multiplied by 100
and divided by the total number of respondents.

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CHAPTER 4
DATA ANALYSIS AND DISCUSSION

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4.1 DATA ANALYSIS AND DISCUSSION
The findings and discussions of this paper rely on data collected from the sample
respondents.
Table 1 show the number of respondent selected for study.
Gender Respondent Percentage
Male 50 50%
Female 50 50%
Total 100 100%
Table 1 it reveals that out of 100 respondents selected for the study, 50 of the respondent were
male and 50 were female, which means that 50% were male and 50% were female, the graphical
representation of table 1 has been shown below through a pie diagram.
50%50%
Respondents
Male
Female

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Table -2 Distribution of the study respondents according to their age
Age Male Percentage Female Percentage Total Percentage
18-21years 20 20% 18 18% 38 38%
22-25years 20 20% 20 20% 40 40%
25yrs above 10 10% 12 12% 22 22%
Total 66 50% 50 50% 100 100%
Table 2: Reveals that out of 100 respondents selected for study 50 percent of the
respondents were male and 50 percent of respondent were female. The respondents
were divided into three different age categories. Among them 38 % of respondent
fall in the age group of 18-21 years, 40 % of respondents fall in the age group of
22-25 years, where 12 % of respondents are 25 years above. Therefore relatively
more respondents were in the age group of 22 to 25 years.

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Graph 2: Graphical representation of distribution of study respondents
according to their age.
0
2
4
6
8
10
12
14
16
18
20
18-21 years
22-25 years
25yrs above
20
20
10
18
20
12
Male
Female

37 | P a g e
Table 3: distribution of the study of respondent according to their gender and
educational Qualification
Qualification Male Percentage Female Percentage Total Percentage
Graduation 26 26% 24 24% 50 50%
Post-graduation 24 24% 26 26% 50 50%
total 50 50% 50 50% 100 100%
Table 3 revels about the educational qualification of the respondents. Among the100 respondents
selected for study 26 percent of male is under graduate and 24 percent is post graduate male. And
among female respondents 26 percent are under graduate and 24 percent is post graduate. In
general more number of female respondents are post graduate then male respondent.
according to their educational qualification.
23
23.5
24
24.5
25
25.5
26
graduation post graduation
26
2424
26
male
female

38 | P a g e
Table 4: Distribution of the study according to the internet accessibility
Accessibility Male Percentage Female Percentage Total Percentage
Yes 47 47% 46 46% 93 93%
No 3 3% 4 4% 7 7%
Total 50 50% 50 50% 100 100%
Table 4 revels that out of 100 respondents 47% of male and 46% of female respondent’s i.e 93%
of respondents have internet accessibility and the rest 3% of male and 4% of female don’t have
internet accessibility.
according to their internet accessibility.
0
5
10
15
20
25
30
35
40
45
50
yes No
47
3
46
4
male
female

39 | P a g e
Table 5 Distribution of the study of respondents according to the frequency of
using internet.
Time duration Male Percentage Female Percentage Total Percentage
Daily 21 21% 20 20% 41 41%
5-6 days a week 16 16% 18 18% 34 34%
3-5 days a week 10 10% 6 6% 16 16%
Weekly once 1 1% 5 5% 6 6%
Fortnightly once 2 2% 1 1% 3 3%
Total 50 50% 50 34% 100 100%
The above table shows that out of 100 respondents 41% of respondents are daily user of internet,
34% of respondent use 5-6 days a week and 16% of respondents use 3-4 days a week whereas
6% and 3% of respondents use internet weekly or fortnightly once.

40 | P a g e
Graph 5: Graphical representation of distribution of study respondents according to the
frequency of using internet.
0
5
10
15
20
25
30
35
40
45
daily 5-6 days a
week
3-5 days a
week
weekly once fortnightly
once
21
16
10
1
2
20
18
6
5
1
41
34
16
6
3
male
female
total

41 | P a g e
Table 6 Distribution of the study of respondents according to the hours spend
for browsing internet
Internet
browsing
Male Percentage Female Percentage Total Percentage
30 minutes 7 7% 11 11% 18 18%
1 hour 10 10% 16 16% 26 26%
2 hours 16 16% 5 5% 21 21%
3 hours and
above
16 16% 16 16% 32 32%
Can’t say 1 1% 2 2% 3 3%
total 50 50% 50 50% 100 100%
The above table shows that out of 100 respondents 18% of respondents spend 30 minutes on
browsing 26 % spend 1 hour daily 21% says they browse for 2 hours daily whereas 32% of
respondents say they do browsing more than 3 hours and above. Only 3% of user say can’t say
how much time they spend for browsing. Relatively more respondents browse internet for longer
hours that is 3 hours.

42 | P a g e
Graph 6: Graphical representation of distribution of study respondents according to the
hours spend for browsing internet.
0
5
10
15
20
25
30
35
30 minutes 1 hour 2 hours 3 hours n
above
can’t say
male
female
total

43 | P a g e
Table 7 Distribution of the study of respondents according to the purpose for
using internet
Purpose Male Percentage Female Percentage
Check mail
Browsing
24 24% 26 26%
Social networking 37 37% 45 45%
Read blogs 12 12% 22 22%
Chatting 20 20% 16 16%
Download
Movies
28 28% 20 20%
Academic purpose 11 11% 30 30%
others 10 10% 5 5%
Above table shows that among the total respondents 24 % of male and 26% of female use
internet for checking mail and browsing.
37% of male and 45% of female use internet for social networking, 12% of male and
22% of female use internet to read blogs,
20% and 16% of male and female use internet for chatting propose,
28% and 20% of male n female respondents use internet for downloading movies,
11% of male 30% of female respondent use it for academic propose.
10% and 5% of respondent use it for other propose like games etc. this table also shows
that female respondent use internet then male respondent.

44 | P a g e
Graph 7 Distribution of the study of respondents according to the purpose for
using internet
0
5
10
15
20
25
30
35
40
45
check mail
browsing
social
networking
read blogs chatting download
movies
academic
porpose
others
24
37
12
20
28
11
10
2600%
45
22
16
20
30
5
male
female

45 | P a g e
Table 8 Distribution of the study of respondents according to their gender to
find out they watch movies or not.
Watch movies Male Female Total Percentage
Yes 45 47 92 92%
No 5 3 8 8%
Total 50 50 100 100%
The above table shows the number of respondent who watch movies 47 % of female watch
movies which are more than that of male respondent ie 45%. Among the total respondent only
8% of respondent say they don’t watch movies.
Graph 8 shows distribution of the study of respondents according to their gender to find
out they watch movies or not.
0
5
10
15
20
25
30
35
40
45
50
Yes No
45
5
47
3
male
female

46 | P a g e
Table 9 shows distribution of the study of respondents according to their
gender to find out different movies genres they watch.
Genres Male Percentage Female Percentage
Action movies 47 47% 28 28%
Comedy movies 36 36% 41 41%
Romantic movies 10 10% 48 48%
Animated
movies
19 19% 12 12%
The above table shows different movie genres watched by the respondents. In this table 47% of
male respondent watch action movies where only 28% of female watch action movies. 36% male
respondent watch comedy movies and 41% of female respondent watch comedy movies. while
romantic movies is more watched my female respondent i.e 48% where male respondent is only
10 % , animated movies are more watch by male respondent then female follows by 19% and
12%. Among the various genres romantic movies have more in demand 48%

47 | P a g e
Graph 9 shows distribution of the study of respondents according to their
gender to find out different movies genres they watch.
0
5
10
15
20
25
30
35
40
45
50
Action movies Comedy movies Romantic movies Animated movies
47
36
10
19
28
41
48
12
Male
Female

48 | P a g e
Table 10 shows distribution of the study of respondents to find out they watch movies in
theaters.
Watch movies in
theaters
Male Female Total Percentage
Yes 49 46 95 95%
No 1 4 5 5%
Total 50 50 100 100%
Above table shows 95% of respondent watch movies in theaters, where as only 5 % of
respondent says they don’t watch movies in theaters. In this table we can also see more no of
male respondent goes to theater to watch movies then female respondent by 49 and 46
respectively.
Graph 10 shows distribution of the study of respondents to find out they watch movies in
theater.
0
5
10
15
20
25
30
35
40
45
50
yes no
49
1
46
4
Male
Female

49 | P a g e
Table 11 shows distribution of the study of respondents to find out they watch online
movies.
Watch online
movies
Male Female Total Percentage
Yes 36 28 64 64%
No 14 22 36 36%
Total 50 50 100 100%
The above table shows that from the total number of respondent 64% watch online movies, and
36% says they don’t watch online movies. In this table we can also see male respondent are more
often watching online movies.
Graph 11 shows distribution of the study of respondents to find out they
watch online movies.
0
10
20
30
40
50
60
70
yes no
36
14
28
22
64
36 male
female
total

50 | P a g e
Table 12 shows distribution of the study of respondents to find out do they
download movies through internet.
Download
movies
Yes 45 45% 35 35% 80 80%
No 5 5% 15 15% 20 20%
This table shows out of 100 respondents 80% of respondents download movies through internet,
out of which 45% of male download movies through internet and 5% of male respondent don’t
download. 35% of female respondents download movies but 15% does not. Hence male
respondents download more movies from internet.
Graph 12 shows distribution of the study of respondents to find out do they
0
10
20
30
40
50
60
70
80
yes no
45
5
35
15
80
20
male
female
total

51 | P a g e
Table 13 shows distribution of the study of respondents to find out do they
Often
downloads
Everyday 5 5% 2 2% 7 7%
Once in
week
16 16% 17 17% 33 33%
Twice a
week
11 11% 16 16% 27 27%
Three times
a week
16 16% 10 10% 26 26%
More than
three times
2 2% 5 5% 7 7%
Total 50 50% 50 50% 100 100%
The above table shows 16% of male respondents download movies once and thrice in a week,
11% of respondents download movies twice in a week whereas 5% and 2% of male respondents
download movie everyday and more than three times a week. This table also shows 17 and 16%
of female respondents download movies once or twice a week only 10% says three times a week
and only 2% and 5% of respondents download movies everyday and more than three times a
week. The above study indicates that out of 100 respondent 33% of respondent download movies
once in week.

52 | P a g e
Graph 13 shows distribution of the study of respondents to find out do they
0
2
4
6
8
10
12
14
16
18
everyday once in week twice in week three times a
week
more than
three time
5
16
11
16
22
17
16
10
5
male
female

53 | P a g e
Table 14 shows Distribution of the study of respondents according to the
awareness of online promotion of cinema.
Aware of
movie
Promotion in
SNS
40 40% 29 29% 69 69%
Reading
blogs
12 12% 15 15% 27 27%
Links send
to websites
30 30% 27 27% 57 57%
Posters 10 10% 18 18% 28 28%
Above table shows the number of sample respondent are aware of online promotions of cinema,
where 0ut of 100 studied respondent 69% of respondent’s know about movies through promotion
on social networking sites. 27% of the respondents know about movie through reading blogs of
directors. 57% of respondent visit to the link send in new media to know about the movies. and
only 28% of the respondent see poster to know about the movie. Hence the table substantiates
that most of the movie promotion are done in social networking sites and links send by a person
to a web site.

54 | P a g e
Graph 14 shows Distribution of the study of respondents according to the
awareness of online promotion of cinema.
0
5
10
15
20
25
30
35
40
Promotion in SNS Reading blogs Links send to
websites
Posters
40
12
30
10
29
15
27
18 male
femal

55 | P a g e
Table 15 shows Distribution of the study of respondents to know do they read
online review of a film before downloading movie.
Online
review
Yes 42 42% 38 38% 80 80%
No 8 8% 12 12% 20 20%
Total 50 50% 50 50% 100 100%
Above table shows that 42% of male respondent read online review before downloading movies
and 38% of female read review before downloading. Hence this data indicates out of 100
respondent 80% of respondents read online review before downloading.
Graph 15 shows Distribution of the study of respondents to know do they read
online review of a film before downloading movie.
0
10
20
30
40
50
60
70
80
Yes No
42
8
38
12
80
20
Male
Female
Total

56 | P a g e
Table 16 shows Distribution of the study of respondents to know how often
they send a movie links or video.
Send links Male Percentage Female Percentage Total Percentage
More than
once a
week
21 21% 17 17% 38 38%
Once a
week
16 16% 10 10% 26 26%
Once a
month
5 5% 5 5% 10 10%
Less than
once a
month
8 8% 10 10% 18 18%
Never 10 10% 8 8% 18 18%
The above table shows out of 100 respondents 38% of respondents send links and video to the
person they know more than once a week, 26% of respondents says they send links and video
once in week, 10% of respondents send links once in a month 18% of respondents send links less
than once a month, and 18% of the respondents never send links. Hence here we can see online
promotion is helpful because people receive and send links or video is more in both the male and
female respondents.

57 | P a g e
Graph 16 shows Distribution of the study of respondents to know how often
they send a movie links or video.
0
5
10
15
20
25
30
35
40
More than once
a week
Once a week Once a month Less than once a
month
Never
21
16
5
8
10
17
10
5
10
8
38
26
10
18 18
Male
Female
Total

58 | P a g e
Table 17 shows Distribution of the study of respondents to know where most
often they receive a movie links or video.
Most receive links Male Female Total Percentage
Social networking
sites
43 40 83 83%
Instant messenger 7 10 17 17%
Above table shows 83% of respondent say they receive movie links and video in social
networking sites that is facebook, myspace, twitter etc. 17% of respondents say they receive such
links in instant messenger like MSN, GTalk,ICQ etc
Table 17 shows Distribution of the study of respondents to know where most
often they receive a movie links or video.
0
10
20
30
40
50
60
70
80
90
Social networking sites Instant messenger
43
7
40
10
83
17
Male
Female
Total

59 | P a g e
CHAPTER 5
CONCLUSION

60 | P a g e
5.1 CONCLUSION AND RECOMMENDATION:
Online promotion of cinema has opened up entirely new possibilities in the world of
cinematography. It is relatively inexpensive to publish information on the Internet. At a fraction
of the cost to publish information by traditional methods, various organizations and individuals
can now distribute information to millions of users. It costs only a few thousand dollars to
establish an Internet presence and publish content on the Internet. Online Promotion has proven
to be a targeted approach to reaching both new and existing customers.
We can take few examples: Ra.One, the most expensive Indian film till date the movie's
marketing budget is around Rs 35-40 crore, of which Rs 12-15 crore has been earmarked for
online promotion, an advertising executive involved with the promotion of the movie said on
condition of anonymity. The official website of the film was unveiled on May 31, 2011. In
September 2011, Red Chillies Entertainment (RCE) launched a viral campaign to promote the
film online. The company launched an official, customized Ra.One channel on YouTube, the
first for an Indian film. Several songs and theatrical promos were released, and videos of events,
the film's production and some uncut footage were posted to the channel. The channel also hosts
games, including the first social game from India, and contests where participants can create
promos from clips, music and dialogue of the film.
Another example we can take of viswaroopam where multiplex and various cinema theaters and
cable TV operator opposed for the movie released in DTH. Online promotion and increase of
internet users in recent days could make release of film online is more physical.
At various forum research papers have been presented on internet use, marketing, advertisement,
and online promotion. The focus of this research work is to carry out an evaluation of use of
internet as new media for promotion of cinemas, and how the youth response to this promotion.
In accomplishing the set of objectives, the survey method was employed to gather data from the
students. The gathered data will be analyzed using simple random sampling mathematical
approach and the result will be displayed in table. The finding shows how new media is
affectively used for promotion of cinemas.
 The sample size respondents were 100, out of which 47% of male and 46% of female
respondent’s have accessibility of internet i.e in total 93% of respondents have internet
accessibility, and the rest 7% don’t have internet accessibility.
 In addition to above point out of 100 respondents 41% of respondents are daily users of
internet, 34% of respondent use 5-6 days a week and 16% of respondents use 3-4 days a
week whereas 6% and 3% of respondents use internet weekly or fortnightly once. This
means more number of people is daily users of internet.
 Related to above insight 18% of respondents spend 30 minutes on browsing 26 % spend
1 hour daily 21% says they browse for 2 hours daily whereas 32% of respondents say

61 | P a g e
they do browsing more than 3 hours and above. Only 3% of user say can’t say how much
time they spend for browsing. Relatively more respondents browse internet for longer
hour.
 In this research among the total respondents 24 % of male and 26% of female use internet
for checking mail and browsing, 37% of male and 45% of female use internet for social
networking, 12% of male and 22% of female use internet to read blogs, 20% and 16% of
male and female use internet for chatting propose, 28% and 20% of male and female
respondents use internet for downloading movies, 11% of male 30% of female
respondent use it for academic propose.10% and 5% of respondent use it for other
propose like games etc. this shows that female respondent comparatively use internet
more than male respondents.
 Most of respondent who watch movies 47 % of female watch movies which is more than
that of male respondents that is 45%. Among the total respondent only 8% of respondent
say they don’t watch movies.
 Preferred movie genres watched by the respondents, 47% of male respondent watch
action movies where only 28% of female watch action movies. 36% male respondent
watch comedy movies and 41% of female respondent watch comedy movies. while
romantic movies is more watched my female respondent i.e 48% where male respondent
is only 10 % , animated movies are more watch by male respondent then female follows
by 19% and 12%. Among the various genres romantic movies have more demand.
 95% of respondent watch movies in theaters, where as only 5 % of respondent says they
don’t watch movies in theaters. In this table we can also see more no of male respondent
goes to theater to watch movies then female respondent by 49 and 46 respectively.
 From the total number of respondent 64% watch online movies, and 36% says they don’t
watch online movies. In this we can also see male respondent are more often in watching
online movies.
 Out of 100 respondents 80% of respondents download movies through internet, out of
which 45% of male download movies through internet and 5% of male respondent
doesn’t download. 35% of female respondents download movies but 15% does not.
Hence male respondent download more movies from internet
 16% of male respondents download movies once and thrice in a week, 11% of
respondents download movies twice in week whereas 5% and 2% of male respondents
download movie everyday and more than three times a week. This table also shows 17
and 16% of female respondents download movies once or twice a week only 10% says
three times a week and only 2% and 5% of respondents download movies everyday and
more than three times a week. The above study indicates that out of 100 respondent 33%
of respondent download movies once in week.
 The number of sample respondent are aware of online promotions of cinema, where 0ut
of 100 studied respondents 69% of respondent’s know about movies through promotion
on social networking sites. 27% of the respondents know about movie through reading

62 | P a g e
blogs of directors. 57% of respondent visit to the link send in new media to know about
the movies, and only 28% of the respondent see poster to know about the movie. Hence
the finding substantiates that most of the movie promotion is done in social networking
sites and links sent by a person to a web site.
 42% of male respondent read online review before downloading movies and 38% of
female read review before downloading. Hence this data indicates out of 100 respondent
80% of respondents read online review before downloading.
 38% of respondents send links and video to the person they know more than once a week,
26% of respondents says they send links and video once in week, 10% of respondents
send links once in a month 18% of respondents send links less than once a month, and
18% of the respondents never send links. Hence here we can see online promotion is
helpful because people receive and send links or video is more in both the male and
female respondents.
 It shows 83% of respondent say they receive movie links and video in social networking
sites that is facebook, myspace, twitter etc. 17% of respondents say they receive such
links in instant messenger like MSN, GTalk,ICQ etc
5.2 Recommendation:
 unlike before were the movie promotion use to be through posters and pamphlets, now
the most powerful and widely accessed social media and internet are available for online
promotion. The cost on publicity was been substantially reduced and the reach becoming
multi fold, unfortunately majority of film producers ignorant of this fact, online
promotion should gain better ground.
 People need not go to the theater for watching the movies television came as substitute
but internet has enlarged the option infinitely. One can access to any movie in internet the
producer should make their movie available online after a certain period of time, DTH is
also a good platform for marketing movies.
 Film producers should became tech savy and explore online promotion intensively.

64 | P a g e
Research Questionnaire
Dear respondent,
I am a student of Mass Communication at Acharya Institute, conducting a research survey
as part of fulfilling my course. I request you to answer all the questions and your responses
will be kept confidential.
PART-A
Name:
Gender: (a) male (b) Female
Age: (a) 18 – 21 years (b) 22 – 25 years (c)25 and above
Qualification: (a) Graduation (b) Post-Graduation
Phone no:
E-mail address:
PART-B
1. Do you have Internet accessibility?
(a) Yes (b) No
2. How often do you use Internet?
(a) daily (b) 5-6 days a week (c) 3-5 days a week (d) weekly once (e) fortnightly once
3. On an average how many hours do you spend for Internet browsing every day?
(a) 30 Minutes (b) 1 hour (c) 2 hours (d) 3 hours and above (e) can’t say

65 | P a g e
4. For what purpose do you use Internet?
(a)Check mail Browsing (b) social networking sites(c) To read blogs (d) Chat with Friends
(e) Download Movies (f) Academic porous (g) other (please specify)
5. Do you watch movies?
(a) Yes (b) No
6. Which type of movies do you watch?
(a) Action movies (b) Comedy movies (c) Romantic movies (d) Animated movies
7. Do you watch movies in theater?
(a) Yes (b) no
8. Do you watch online movies?
(a) Yes (b) no
9. If yes what are the advantages and disadvantages of online movie list it out?
10. How many movies do u watch online in the last one week. Can u name them?
11. Why do you choose them?
12. Do you download movies through internet?
(a) Yes (b) No
13. Mention few websites name:
14. How often do u download movie?
(a) everyday (b) once a week (c) twice a week (d) three times a week (e) more than three times a
week
15. How do you know about the movie? (SNS – social networking site)
(a) Promotion in SNS (b) reading blog of directors (c) links send to websites (d) posters
16. Do you read online review before downloading any movie?

66 | P a g e
(a) Yes (b) No
17. If ever, on average how often do you send a link to a video or website to someone you know?
(a) More than once a week, (b) Once a week, (c) once a month, (d) Less than once a month,
(e) never
18. Where do you most often receive such links?
(a) A social networking site (Facebook, myspace, twitter etc) Email
(b) Instant Messenger (MSN, ICQ, GTalk)
19. What is your opinion about the use of new media by film producers in promotion of cinema?

68 | P a g e
List of books
 Understanding film Marxist perspectives edited by Mike Wayne.
 Introduction to the films by Nick Lacey.
 Silent Movies: The Birth of Film and the Triumph of Movie Cultureby Peter
Kobel, Martin Scorsese , Kevin Brownlow.
 Film Theory: An Introduction by Robert Stam
 The Art Of Bollywood by Edo Bouman, Paul Duncan (Editor), Rajesh
Devraj
 Filming the Gods: Religion and Indian Cinema by Rachel Dwyer
 Publishing, 2002. Wolinsky, Art.Barabasi, Albert-Laszlo. Linked: The New
Science of Networks. Cambridge, MA: Perseus
 The History of the Internet and the World Wide Web. Berkeley Heights,
N.J.: Enslow Publishers, 1999.
Journals
 Baran, Paul and Sharla P. Boehm. "On Distributed Communications: II
Digital Simulation of Hot Potato Routing in a Broadband Distributed
Communications Network" Memorandum RM-3103-PR. August 1964.
 Hardy, Henry. The History of the Net. Masters Thesis, Grand Valley State
University. 1993.
 Hardy, Ian R. "The Evolution of ARPANET Email." Ph.D.dissertation,
University of California at Berkeley. 1996.
 Heart, F., McKenzie, A., McQuillian, J., and Walden, D. "ARPANET
Completion Report." Bolt, Beranek and Newman, Burlington, MA. January
4, 1978.
 Kieburtz, R. Bruce and Roy F. Privett. "The Internet: Past, Present, and
Future." IEEE Communications Magazine. July 2002.

69 | P a g e
List of URL
 http://www.filmsite.org/pre20sintro3.html
 http://www.cinemaofmalayalam.net/his_indian_cinema.html
 http://mashable.com/2010/11/29/social-media-movie-marketing/
 http://www.academia.edu/1437713/Literature_review_What_opportunities_
and_challenges_online_social_networks_have_to_offer_to_the_marketing_c
ommunications_efforts_of_brands
 http://www.peelregion.ca/health/resources/pdf/socialmedia.pdf
 http://www.cdc.gov/youthcampaign/research/pdf/litreview.pdf
 http://www.acrwebsite.org/search/view-conference-
proceedings.aspx?Id=7484
 http://www.uwosh.edu/filmandhistory/

USE OF NEW MEDIA IN THE PROMOTION OF CINEMA

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