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Tag: Deepa Bhatia

  • Seven in ten urban Indians claim their frequency of going to the cinema has decreased: YouGuv

    Seven in ten urban Indians claim their frequency of going to the cinema has decreased: YouGuv

    Mumbai: New YouGov data reveals where people are watching new films and how the shift to streaming platforms may affect cinema attendance in a post-covid world.

    When asked about the change in their cinema viewing habits since the pandemic, nearly seven in ten urban Indians (69 per cent) agreed with the statement, “My frequency of going to the cinema/theatre has decreased.”

    According to data, 44 per cent of people stop visiting the cinema hall because of  streaming films online, followed by 42 per cent of people’s preference to watch films at home. Nearly a third think going to a cinema is expensive or feel there aren’t any films worth going to the cinema are 32 per cent each. North Indians were more likely to say they do not go to cinemas because of the flexibility of streaming films online. Similarly, the 40+ group prefers to watch films at home.

    When asked about the medium they have used most often to watch newly released films in the past six months, OTT platforms emerged as the most popular choice for nearly half of urban Indians. A fifth (22 per cent) said they watched new movies on TV and only 16 per cent went to the cinema or theatre to watch films during this period.

    Looking at the data by age, 57 per cent between age group of 18-29 years were most likely to watch new films on OTT/streaming platforms in the past six months, while 40+ adults than others were more likely to watch them on TV (26 per cent) or in theatres (19 per cent). Notably, residents in South India were more likely to say they watched newly released films in theatres as compared to residents of other regions (22 per cent).

    Even though OTT has gained precedence, not all hope is lost for theatres. YouGov data shows a quarter of urban Indians (26 per cent) said their frequency of visiting theatres has increased since the pandemic, with young adults between 18 and 29 years old echoing this sentiment most strongly.

    An overview of people’s cinema viewing habits shows one in six urban Indians (15 per cent) said they go to a theatre to watch a film at least once a week, while eight per cent do so once a fortnight. Just under a quarter visit a theatre at least once a month (23 per cent), and nearly half visit it once every two-three months or longer than that. This behaviour is similar across all age groups.

    Past behaviour shows cinema outings in the last 12 months have mostly been with friends or family. At 61 per cent, Bollywood films emerged as the most popular kind of cinema among people, followed by Hollywood or regional South Indian films at 45 per cent each.

    When it comes to film genres, urban Indians prefer comedy (67 per cent), followed by action (54 per cent), and thrillers (51 per cent). Specifically, thinking about how they like to watch these genres, a majority (55 per cent) said they enjoy watching comedy films on OTT or streaming platforms. 19 per cent prefer watching them in a theatre, and 26 per cent prefer both the options. The higher preference for OTT platforms is uniform across genres, except for action films, where people were more likely to say they liked watching these films in theatres than on OTT platforms.

    Commenting on the research, YouGov India GM Deepa Bhatia said, “After two years of the pandemic, theatres in India finally opened to full capacity this year. However, the rising popularity of streaming platforms remains a challenge, discouraging people to step out of their homes.”

    “While cost and home viewing habits keep many people away from the movies, it should be remembered that people go to the cinema to enjoy the experience. It is important for brands to understand the changing cinema habits and behaviours of urban Indians to re-imagine their marketing strategies and prepare themselves for this ever evolving relationship between films and consumers,” added Bhatia.

    Data was collected online among 1,004 urban Indian respondents in September 2022 by YouGov’s Omnibus using its panel of over 20 million people worldwide.

  • After NTO implementation, Indians ditching TV for OTT: survey

    After NTO implementation, Indians ditching TV for OTT: survey

    MUMBAI: People are migrating to online media for content after Telecom Regulatory of India (TRAI) came up with the New Tariff Order (NTO), says a survey. According to a research done by YouGov, around half of Indian DTH subscribers (48 per cent) said the amount of time they spend watching original online content (on Netflix, Amazon Prime, Hotstar, etc.) has increased after the implementation of the TRAI tariff order last year. Almost as many (42 per cent) said the same for time spent watching television content digitally.

    The latest findings seem to validate its previous survey done in 2019. As per that survey, when the order was first passed, half of the 1020 respondents (49 per cent) indicated their inclination to spend more time online watching original content as a result of this amendment.

    TRAI is all set to implement the proposed NTO 2.0 starting 1 March 2020. Though the regulatory body argues that the new tariff order has benefitted the end consumer, the reality seems to be different.

    As per the earlier order, users were to choose channels they liked and pay standardised rates for only those they watch. Although this move was meant to enhance the customer’s television viewing experience, people did not seem too happy with its execution.

    The TRAI guidelines seem to have adversely impacted the business of television and 43 per cent said their TV-viewing time has decreased in the last year.

    Furthermore, one in six (16 per cent) claimed to have unsubscribed from a DTH connection or network because of the TRAI rule, and one in five (21 per cent) have unsubscribed and moved entirely online for content.

    Men were more likely than women to disconnect their cable connection (19 per cent vs 13 per cent) while the youngest generation, GenZ, were more likely than the rest to not just unsubscribe but migrate online as well (26 per cent).

    NTO 2.0 is likely to make subscriptions affordable by offering consumers 200 channels with the base slab of Rs 130 as opposed to 100 channels offered earlier. The data shows that the majority of respondents (60 per cent) favour the revised order, 14 per cent disapprove of it and 26 per cent have no view in this regard.

    Support could be due to the fact that people positively perceive this change and more than half (56 per cent) feel it will empower them to choose the channels they like. Although people largely support it, many (36 per cent) feel the new amendment will confuse consumers by giving them too many options to choose from.

    Following the introduction of the TRAI regulatory framework last year, 40 per cent TV-viewers selected channels individually and paid for each, 37 per cent bought a bundle pack and 23 per cent opted for free-to-air channels with few additions.

    The ones who bought a bundle pack were more likely to say they paid more than they used to earlier as compared to the ones who selected channels individually or kept all free channels- who instead were more likely to say they paid lesser than before (29 per cent and 30 per cent, respectively).

    If the new TRAI rule comes into force, most people (38 per cent) are still likely to individually select channels. The proportion of people wanting to buy a bundle pack as well as keep free channels is similar, at 31 per cent each, suggesting that people are equally receptive to each of the offerings.

    YouGov India general manager Deepa Bhatia said: “YouGov’s survey last year rightly predicted the likely impact of the new regulation on consumer viewership. The latest findings validate this prediction. The new order is likely to disrupt the business further and hence it is even more important for advertisers to study the changing consumer needs and behaviour and reallocate their media budgets accordingly.”

  • WIFT: WOOING WOMEN

    WIFT: WOOING WOMEN

    Women are increasingly blazing a trail in the world of film and television these days. But one is disappointed when one looks at how the ladies are faring as far as the Women in Film & Television (WIFT) association is concerned. More than a year after its formation it has only 300 odd members.

    “We fail to understand why people are still hesitant about joining. Maybe we need to be more out there (sic). We want people to spread the word so that we can help as many women as possible,” says WIFT founder Petrina M D’Rozario.

    The association is dedicated to advancing professional development and achievement for women working in all areas of film, video, and other screen-based media.

    Her association with the organisation goes back a long way when she was studying in New Zealand. When she came back to India, she thought of starting the Indian arm of the global society. 

    Internationally, the association has organised various forums wherein people from the industry have come forward to help each other and the ones who want to enter the ‘glamourous’ world of entertainment. There are 44 chapters all across the world with over 14,000  members.

    Petrina D’Rozario launched the India chapter of WIFT

    “After completing my studies and job, when I got back, I thought to myself that there could be nothing  better than meet people from the industry through the platform of Wift. I had made a lot of friends in New Zealand through the platform. When I found out that that there was no Wift in India, I thought of starting the platform where like-minded women filmmakers and women in the industry can meet, talk, discuss and help each other.”

    Petrina personally went and met senior women  professionals in the industry and got them on its advisory board. There are 11 advisory board members with the likes of Kiran Rao, Anupma Chopra, Jeroo Mulla, Lynn DeSouza and many more.  There are three board members including Petrina. Film critic and editor, Uma da Cunha and media relations professional Riddhi Wallia are the other members.

     “I was approached by Petrina to join the association when I was heading Colors. I was so impressed and charged by the aim of Wift that I didn’t hesitate once to confirm my support. An impetus behind joining was to help tap talent and support women across the country to have a safe destination and network to get a foothold in the entertainment (film/television) and media industries which we all know is a very competitive field. I was keen to do my part to help all women including those from marginalised communities to have the correct and best chance to enter the industry,” recounts Grazing Goat Pictures co-founder Ashvini Yardi.

    The association doesn’t want to be known as a sorority. It is no kitty-party gang, but aims to provide opportunities to other women to interact as well as network, helping them grow in the field. “If a media student joins us, we ensure that she meets people like Kiran Rao, Zoya Akhtar and the likes. This gives the student a chance to learn from them,” says Petrina.

    Through its mentoring scheme WIFT  looks at matching professional members with experienced practitioners for mentoring over a six month period or as designed by the mentor.  The scheme is designed to increase women’s skills, knowledge, networks and confidence as they build their careers. The mentors include the cream of the industry across disciplines like Tanuja Chandra (Director), Deepa Bhatia (Editor), Anjuli Shukla (Cinematographer), Zoya Akhtar (Director), Kiran Rao (Director),Paromita Vohra (Documentary Filmmaker), Onir (Director), Aarti Bajaj (Editor) and Akeev Ali (Editor).

    Ashini Yardi feels that WIFT is a brilliant platform which provides direction and support to women who have dared to dream

    Filmmaker, producer and activist Madhusree Dutta who is an advisory member says that such organisations are very much needed because there is a need to provide a cohesive working space in what has  male-dominated industry.  “One might wonder what travails can people like Kiran or Anupma or me go through.  The association isn’t about what we are going through now. It is about what we have gone through and do not want them to tread the same path. We want a better place and want to help women in the industry,” says Dutta while explaining her association with WIFT.
    So, does it plan to revolutionise the industry? ‘No’, comes the prompt reply from Petrina. “We are not here to ‘change’ the world because we can’t even do that. We are no big shakers who can make changes or bring a revolution in the industry individually; it all happens collectively through the course of time.”

    However, there are challenges it faces. “If you follow the crowd, there won’t be any but if you go against the tide, there will be challenges,” she says. The shortage of funds is the biggest roadblack. “In a city like Mumbai, one needs to pay-up for even putting a toe at some place. So, when we want to screen films or organise events or workshops, we do face monetary issues.”

    But she is quick to add that there are many who are willing to help them and provide venues at low or no cost to hold various events as it is for a good cause. The association aims to have events – workshop, film screenings, and discussion forms – every two weeks. And they are for women only. “However, during workshops men are allowed,” laughs Petrina.

    WIFT just finished one such event – The Red Dot Film Festival. The three-day festival (23, 24, 25 August) was held at the Films Division in Mumbai. The movies featured were by national award-winning filmmakers, actors, editors, and writers cutting across languages, forms and styles. Among them were I Am Micro, Paradesi, Celluloid Man, and many more.

    Madhusree Dutta wants the industry to become a cohesive place for women to work

    The organisation feels that films are a medium, which touch millions of lives, and therefore they have the potential to bring about a societal change, even if it is one step at a time. Be it women-centric films, which give conventional commercial flicks a run for their money. Women lyricists and music composers are taking the traditional male bastions by storm. Women writers and directors are winning international accolades for their portrayal of sensitive subjects and women actors and producers balance creativity with commercial success. The world is changing, step by step, with these exceptional women acting as the torchbearers, showing the way for the aspiring millions. Hence, the hope is that these women and WIFT will end up being the true champions of women empowerment.

    Petrina says she is hopeful WIFT’s numbers will rise. “We have kept membership low at Rs 2,000 a year for professionals and Rs 700 for students,” she says. “We would love to have many more than what we have currently.”

    Karisma Kapoor and Shobha De at the launch of The Red Dot Film Festival

    Internationally, WIFT organizes regular get togethers like luncheons, special events, high teas to foster exchange of ideas between its members and the association has almost become a movement for women in the TV and film trade. The numbers in India too will surely rise over time, there’s no doubt, as WIFT starts getting more active and word of mouth spreads amongst the army of women who are defining film and television today.

    But don’t be surprised by the first words you hear if you are a woman in media and you happen to be introduced to Petrina. “Are you a member of WIFT? If you are not, then it’s high time that you did.”

    With Petrina as chief evangelist, you’ll hear a lot of WIFT in the coming weeks, months and years. More power to her elbow!