OTT PLATFORMS IN INDIA

Disclaimer: The note/s given below is/ are a compilation of information taken from various sources. The references to the sources are provided at the end. The views expressed in the note/s are those of the concerned student/s/ intern/s. The blogger or the compiler will not be responsible in any manner whatsoever regarding the authenticity of the information provided in the note/s.

 

These notes are being compiled to help the students for educational purposes during Covid-19 pandemic.

CONTENT

1.         What is OTT
2.         What are some examples of OTT?
3.         How OTT is Delivered?
4.         Emergence of Over-the-top video services in India.
5.         History of OTT Platforms in India
6.         OTT Platforms and their role in India
7.         Conclusion
8.         References Links

1.         What is OTT?

The acronym OTT stands for Over-the-top. This means streaming across different devices whenever we want is possible because of “over-the-top,” a convenient little term that explains the new delivery method of film and TV content over the internet without the need for traditional cable or satellite pay-TV services. In simple terms, we’re talking about people paying for the internet from Xfinity to watch Netflix, but not bothering to get 400+ channels from Comcast so they can scroll through ESPN4 on their big screen.OTT or, Over-The-Top platforms are audio and video hosting platforms, which earlier started as content hosting platforms but eventually branched out to production and short movie releases, feature films, web-series, documentaries, sports, and other entertainment forms. These platforms run on cutting edge technology and state of the art functioning. These platforms use Artificial Intelligence (AI) to figure out the content which might interest the user (depending on the previous usage or browsing history) and gives out recommendations based on them. These OTT platforms work on a Trail or FREEMIUM model, where they generally give some content for free and have a premium subscription for their exclusive content that is not available elsewhere.

2. What are some examples of OTT?

There’s a wide range of OTT platforms, including Netflix, Hulu, Amazon Prime Video, DirecTV Now, fuboTV, Sling TV, Hulu with Live TV, PlayStation Vue, MercTV, YouTube Premium and YouTube TV.

3. How OTT is Delivered?

The accessibility of OTT content is one of the many reasons it’s so popular. To stream OTT, customers only require an internet connection and a compatible hardware device.

• Mobile OTT Devices: Smartphones and tablets are able to download OTT apps to stream on-the go.
• Personal Computers: Consumers can access OTT content from desktop-based apps or web browsers.
• Smart TVs: The most common examples include Apple TV’s, SmartTV’s, PlayStation,  Chromecast, Xbox, FireStick and MORE. While you can typically stream OTT content on mobile and desktop devices, they aren’t considered true OTT devices.

4.    Emergence of Over The Top video services in India.

Traditionally, the consumption of movies and other audio and video content has always been in the form of mediums like theatre and television. As the technology developed, it was easily accessible at home and whenever required with the introduction of VHS, DVDs, Blu-rays and disc rental services. Further, cable television brought the content through Co-axial cables and fibre optic cables. Another better service emerged as Direct-to-home (DTH) technology through satellite and dish connectivity that brought high-quality broadcast and on-demand content directly to the consumer. Recently, technological advancements have made the movie or TV watching more convenient through online streaming or Video on Demand (VoD) services. VoD refers to streaming of video content over the Internet, through applications typically referred to as Over-The-Top (OTT). Viewers can access video content through OTT apps in any Internet-connected device like a Smartphone, smart TV, tablet, desktop computer, laptop, etc. Unlike traditional media, streaming services tell varied stories that are not restricted by censors, box office or demographic. It gives a viewing experience with greatly improved sound and visual quality, provided the consumers have a stable Internet.

Once considered a luxury, an increasingly growing number of Indians are shifting towards cord-cutting or online streaming. While the figures show that the VoD industry is still at its nascent stage, the entry of almost 40 VoD companies in a span of just three years indicates the massive potential of the industry. Out of five Smartphone owners in India, at least four people watch content in at least one OTT app (New18.com, 2019). The OTT apps have become the most downloaded app category ahead of social networking apps like Facebook, messaging apps like WhatsApp, and e-commerce apps like Amazon and Flipkart. The streaming market will collectively account for 46% of the overall growth in the Indian entertainment and media industry from 2017 to 2022 .

5.    History of OTT Platforms in India

The first Indian OTT platform was BigFlix, which was launched by Reliance Entertainment in 2008. After BIGFlix, many other platforms were introduced into the Indian Market. OTT gained momentum in Indian in 2103 when Ditto TV (Zee) and Sony Liv were launched. But, None of them went successful due to the high price of Internet data and Poor quality of connection in India.
The revolution came after Jio introduced its services. Prices of the Internet plans fell drastically and the companies also made their connection better to complete in the cut-throat market.
Slowly, the data consumption appetite of consumers increased with affordable plans and better connections. From there onwards, The Internet industry saw a boom in India.
Post Jio revolution, India saw the rise of various OTT Platforms such as Hotstar, Netflix, Sony LIV, Amazon Prime Video, etc.
Disney Hotstar was launched in the year 2015. And it is one of the highest watched OTT platforms in India. As of July 2020, it has more than 300 million active users. Soon after, Netflix began its operations in India in the year 2016 (January). It is one of the most recognised and prominent global OTT segment players. Netflix faces stiff competition in India from players like Amazon Prime, Disney+Hotstar etc.

  6.    OTT Platforms and their role in India :

i.)       Hotstar

Hotstar is a Star Network product that launched in February 2015. It has swiftly become one of the largest video-on-demand platforms in the country. Hotstar is the only platform where the best TV shows from around the world, movie premieres and live sports and events, are available on a single platform. It is the only service with content partnerships with the top three global studios – HBO, Fox, and Disney.
Hotstar works on a freemium based model.
Previously it was also like a regular platform used to provide shows that used to air in Star India Network. But the real change came into action when they started to stream sports, especially cricket in 2017.
As of 2018, with around 150 million active users and over 350 million downloads. In 2019, Disney acquired Hotstar. After Disney’s acquisition, They launched Disney+ Hotstar in 2020.
According to Hotstar's India Watch Report 2018, 96% of watch time on Hotstar comes from videos longer than 20 minutes, while one–third of Hotstar subscribers watch television shows In 2019, Hotstar began investing ₹120 crores in generating original content such as "Hotstar Specials". 80% of the viewership on Hotstar comes from drama, movies and sports programs.

ii)         Netflix India

American streaming service Netflix entered India in January 2016. In April 2017, it was registered as a limited liability partnership (LLP) and started commissioning content. It earned a net profit of ₹2020,000 (₹2.02 million) for fiscal year 2017. Netflix faces tough competition with other OTT platforms in India such as Amazon Prime, Hotstar, Voot and Eros Now, each of which charges lower subscription rates than Netflix.
Netflix has made its highest investment ever in India to produce more original content. Netflix is a lot costlier than all of its competitors. So additionally, they launched a low-cost, mobile-only version of its service exclusively in India. The plan costs Rs. 199, and it is aiming to bring a unique personalized experience to the Smartphone users in India. 

iii)         BigFlix

BigFlix is Reliance Entertainment’s subscription-based movie streaming service. Last year in April, the platform got revamped and now has a subscription fee of Rs.50 per month after a month free trial. The service offers five user profiles, and HD quality streaming on up to five devices simultaneously. Considering that Indians have a growing consumption of digital entertainment on a daily basis, BigFlix is sure to fill the void created by the decline of the home video market by digitally delivering movies.
The platform boasts a huge collection of movies which has 2,000 titles across 9 languages including Hindi, Telugu, Tamil, Punjabi, Malayalam, Gujarati, Marathi, Bhojpuri, and Bengali. It has tied up with the likes of Dharma, Disney, Viacom, Phantom, Teluguone and Rajshri. It is important to note that Reliance does not want to focus on English-centric content and will be very limited in size. It is claimed by Reliance that BigFlix has already a huge user base of 3.9 million users. 

iv)         Amazon Prime Video:

A year after the launch of the biggie OTT player, Netflix – Amazon Prime Video launched in India. It is currently priced at Rs.999 per year. According to the Director of Content at Amazon Prime Video India, India accounts for the highest number of Prime members in the debut year, growing fastest among the 16 countries that the platform is present on. India is a price sensitive country and at its low-priced subscription fee it gives the users great value for money.

 
Around 93% of the time that Indians spent on online videos, they were watching Hindi and regional language content. Amazon not only provides English centric content but also focuses on Hindi content as well as Regional content. Its video content portfolio is led by Bollywood movies which is a popular content category in India.  Amazon has also committed $300 million for original Indian content, roping in some big Bollywood names, besides internet content space.

v)         Others

Hulu, Viu, MX Player, Alt-Balaji, Sony LIV, JioCinema, VOOT Eros Now, Byjus. Coursera, Gaana etc. are some other OTT Media platforms widely used in India.

7.    Conclusion

The OTT industry looks all set for a revolution since all the OTT platforms not only provide premium and niche content but also serve as a catch-up for their respective television counterparts. You don’t have to remember the telecast time any more nor miss out on your favourite series or films.

According to KPMG Media and Entertainment Report 2018, the Indian OTT market is expected to grow 45 percent to reach ₹138 billion by the end of fiscal 2023. According to a report by Ernst & Young, the number of OTT users in the country will reach 500 million by 2020, making India the second–biggest market after the US.

8    References:

• https://www.endavomedia.com/what-is-ott/
• https://www.91mobiles.com/hub/ott-platform-full-form-best-services-india/
• https://tradebrains.in/ott-platforms-india-whats-hotstar-netflix/#:~:text=The%20first%20Indian%20OTT%20platform,watched%20OTT%20platforms%20in%20India.
• https://quod.lib.umich.edu/m/mij/15031809.0006.206?view=text;rgn=main
• https://vidooly.com/blog/top-10-ott-platforms-in-india/
• https://www.gizbot.com/what-is-ott-platform-best-10-ott-platforms-in-india.html?story=1
• https://www.moneycontrol.com/news/india/explained-the-ott-boom-in-india-4435871.html
• Some articles and reports.

Compiled & submitted by:

Muskan Verma
B.A. (Hons.) Journalism, Batch of 22
Lady Shri Ram College for Women

 

Inmates tune intro new talents with Jail Radio: The Hindu: March 29, 2021

 Courtesy: The Hindu

Holi, Prison Radio and the inmates: District Jail, Karnal: March 2021

 

Courtesy: Amar Ujala

Prison Radio in Haryana: Published in Indo-Mauritius Friendship Foundation

A brief story of the journey of prison radio in India and the significant role played by Tinka Tinka Foundation is published in the March 2021 edition of IMFF. 
#vartikananda #tinkatinka #prison #jail #jailradio #tinkamodelofprisonreforms

 

Prison Radio in Haryana: Phase 2: Front page story in Dainik Jagran

Haryana Prisons have completed second phase of Radio Presentation Skill Program with 26 inmates being trained as Radio Jockeys. 

These jails are District  Jail Rohtak, District Jail Bhondi (Gurugram), Central Jail number 1 Hisar and District Jail, Karnal.  These training programs are conceptualised and executed by Prison Reformer Vartika Nanda. Selected inmates include five women and one transgender. This is a Tinka Tinka initiative and the purpose is to provide inmates a source of communication and help in reformation. This is a Tinka Model of Prison Reforms.

This story was published in the front page of Dainik Jagran on March 20, 2021. 

Courtesy: Dainik Jagran 

Prison Radio in Haryana: Phase 2

Haryana Prisons have completed second phase of Radio Presentation Skill Program with 26 inmates being trained as Radio Jockeys. 

These jails are District  Jail Rohtak, District Jail Bhondi (Gurugram), Central Jail number 1 Hisar and District Jail, Karnal.  These training programs are conceptualised and executed by Prison Reformer Vartika Nanda. Selected inmates include five women and one transgender. This is a Tinka Tinka initiative and the purpose is to provide inmates a source of communication and help in reformation. This is a Tinka Model of Prison Reforms.

This story was published in the Times of India. 

Courtesy: Times of India  

LIVE REPORTING

Disclaimer: The note/s given below is/are a compilation of information taken from various sources. The references to the sources are provided at the end. The views expressed in the note/s are those of the concerned student(s)/intern(s). The Blogger or the compiler will not be responsible in any manner whatsoever regarding the authenticity of the information provided in the note/s.

Introduction

A live broadcast, also called a live transmission, generally refers to various types of media that are broadcast without a significant delay. This kind of content is usually either produced in a radio or a television studio. It may include broadcasts of politics, sports or a breaking news situation which is considered to be of relevance to the target audience.

Other types of live broadcasts include:

● Live radio

● Live television

● Internet television

● Internet radio

● Liveblogging

● Live streaming

● Instagram Live

Live television is a television production broadcast in real-time, as events happen, in the present. In a secondary meaning, it may refer to streaming television over the Internet. In most cases live programming is not being recorded as it is shown on TV, but rather was not rehearsed or edited and is being shown only as it was recorded prior to being aired. Shows broadcast live include newscasts, morning shows, awards shows, sports programs, reality programs and, occasionally, episodes of scripted television series.

Live television was more common until the late 1950s, when videotape technology was invented. Because of the prohibitive cost, adoption was slow, and some television shows remained live until the 1970s, such as soap operas. To prevent unforeseen issues, live television programs may be delayed, which allows censors to edit the program. Some programs may be broadcast live in certain time zones and delayed in others. 

Live broadcasting has proliferated in television journalism since its inception in the 1950s. CNN successfully implemented satellite-based live broadcasts around 1990 and covered the first Gulf war from the front lines with “flyaway dishes” (Zelizer 1992), and this was a great spur to “all news” stations.

Live broadcasting has traditionally required:

●      Specialized infrastructure and equipment—often in the form of “outside broadcasting” (OB) and satellite links to cover live events and upload material to the editorial system. With the emergence of smartphones and internet connections, more or less the same operations can be performed with an application on a mobile phone and a mobile data connection.

●      Better bandwidth and more stable signalling means that lightweight and mobile equipment can replace much of the traditional equipment used in live coverage and can thus have the potential to change the traditional workflow and work practices of television reporters.

 

 Scannell argues that the ordinary news routines of live broadcasting shore up “on behalf of us all, the meaningful character of existence, even when it appears to be collapsing in ruins before our disbelieving eyes” (Scannell 2004, 582–583; Nyre 2007).

There are various approaches to thinking about monitoring and control of content and journalistic ethics. There is a critical need to pay attention to particular ethical issues which arise for broadcasters, such as the challenge of ‘breaking news’ and live reporting which may lead journalists to regret the information they transmit. The continuing introduction of new technologies also challenges the ethical dimensions of journalistic practice.

Making live coverage easy and effortless might, for example, reduce the time the reporters have to do the necessary ethical considerations. This can contribute to moving the considerations normally done by journalists to other parts of the organization and put more responsibility on editors and line-control. This can over time challenge the autonomy and ethical responsibility of the individual journalist, and the reporting team working together in the field.

Issues arising out of live reporting:

1. The stress on being the first one to break news

2. flamboyant and sensational presentation of ‘breaking’ and live news (provocative questions, statements, graphics)

3. No proper fact-checking before transmitting information

4. Compromising source integrity

5. Compromising work by security agencies or divulging sensitive information

While for live reporting, it is usually believed that it is unpredicted, unscripted and spontaneous, the reporting still heavily relies on official sources to frame and interpret events. Things to figure out before live reporting: 

●    There is no script, use bullet points to guide the flow of the information you’re delivering and practice before you go live. 

●    Make a game plan for the live shot. Will you be moving around, showing the audience something or doing something on camera? 

●    “It’s OK to say you don’t know something and to say, ‘Here’s what we’re going to find out.” rather than speculating or making it up.

 

Ethical Issues with Live Streaming:

It might seem beneficial that there is no longer the need to time-consumingly edit video footage into a report, but this could also be considered as a drawback in ethical terms. Live streaming takes away the chance to reconsider, evaluate and journalistically assess news content. Traditional broadcasting, especially if not live, always operates in conjunction with an editorial board, researchers, and technical experts, whereas with live streaming the reporter is on their own. Media ethics largely covers four broad aspects namely – truth; authenticity, sensationalism, conflict of interest and appropriateness of media contents. Any compromise on any of these tenets in the garb of freedom of speech and expression can have extremely detrimental effects on the thought process of the society. Truth and authenticity are the two prime principles of ethics that form the basic platter for any kind of media content. It covers not only the commitment to tell the truth without fear or favor, but also to resist from spreading half-truth or made-up information specifically intended to deceive the audience.

Pros 

●      Unfiltered Video Streaming: There is no censorship involved. Journalists can provide their audience with first hand images of live events.  Immediacy: Real news, in real time, delivered directly to the audience. 

●      Flexibility: All that is needed is a smartphone and journalists are able to report from anywhere in the world – as long as there is a stable internet connection. 

●      Potential positive impact for developing countries: News content can be produced very easily and cheaply with live streaming apps. This makes it affordable for smaller media outlets and freelance journalists, especially in rural areas or developing countries. 

●      Audience engagement: Periscope and Facebook Live both provide the feature for direct feedback – useful for audience questions, especially in interview situations.

●       Empowering citizen journalists: Entirely free from camera teams or editorial boards, citizen journalists can stream live events to their followers.

Cons  

●      No editorial control: Quality journalism rests on a foundation of journalistic values and ethics. Live streaming the news takes away the editorial control of reassessing, fact-checking and researching for a deeper understanding and dedication to the truth. 

●      No control over what could happen in live crisis situations: Especially if the outcome of an emergency situation is unclear, in the case of a terror attack or a natural disaster for instance, live streaming the events can lead to unfiltered footage of victims or their families being broadcast. 

●      Dependency on internet connections: While wireless internet connection is mostly stable in western countries, it is hard to secure live streaming in more rural areas or in developing countries. Also, especially in emergency situations where large crowds of people are trying to access social media feeds the internet connection is likely lack of speed and stability.

●      In the case of a natural disaster the infrastructure in a certain region might be so damaged that the internet goes down all together. 

●      Potential interference with emergency operations: Following the Paris attacks, the French police had to ask Twitter users to refrain from tweeting or periscoping the events in front of the Bataclan, as the terrorists could have access to the footage as well. In emergency situations it is more important to guarantee that police and other action forces can work without interference from journalists. 

CASE STUDIES

At a time, when the entire media fraternity is regarded as the fourth pillar of a robust and thriving democracy, it is imperative upon the conscientious section of society to ponder upon the need for accountability and self-restraint in this arena. In the last few years, there had been plenty of instances where media overreach and hyper- activism had caused wilful influence and unwarranted media goof-ups. 

●       The live coverage of 26/11 Mumbai attacks by media houses came under extensive criticism for prioritizing vested commercial interests over national security.The undue competition among themselves in showing exclusives on minute-to-minute basis had nearly jeopardized the strategic planning of the security forces out there. Coverage of the 67-hour Mumbai terrorist attacks, brought unprecedented condemnation, especially of 24-hour television news channels. Critics described it as "TV terror" for showing gory scenes, being too aggressive, and often reporting incorrect information as fact. In the following days, critics say, many Indian journalists were overly dramatic, sensationalist and quick to report live "exclusives" of unconfirmed rumours. Many said that TV anchors were overwrought and quick to blame Pakistan for the attacks. “It’s high time we realize and accept that we are at fault," said Shishir Joshi, the editorial director of Mid-Day, a Mumbai newspaper. "We did well getting into the line of fire, but from an ethical point of view we screwed up big-time." Recognizing the missteps in coverage, National Broadcaster Association revealed a new set of rules for the industry. The guidelines ban broadcasting of footage that could reveal security operations and live contact with hostages or attackers. Television coverage of the attacks showed dead bodies and hostages trapped in rooms, revealed commando operations and positions and reported the location of hostages at the Taj Mahal Hotel. Senior news editors are accused of playing martial music between updates and providing airtime to Bollywood actors and other members of Mumbai's chatterati. One station even aired a telephone conversation with one of the 10 gunmen.

1.     Official actions taken:

❖     In the immediate aftermath of the attacks, the Ministry of Information and Broadcasting issued notices to two Hindi news channels – Aaj Tak and India TV. However, official sources admit they had no answer when asked if the networks in question had indeed violated any Standard Operating Procedure (SOP) for the media in crisis situations. Why were there no guidelines created – in consultation, by taking media owners into confidence on how best to devise a communications strategy in such situations? While reviewing the failures and addressing new challenges, the absence of a simple protocol was glaring. In fact, it took an attack like 26/11 for both the government and the media industry to evolve new frameworks for coverage.

❖     Similarly, after the Mumbai attacks of November 26, 2008, under a committee headed by the late Justice J.S. Verma, the News Broadcasters Association, an autonomous industry body for TV news channels, came up with a new set of guidelines for the coverage of emergency situations (armed conflict, internal disturbance, communal violence, public disorder and crime).

 2.     NBA GUIDELINES FOR CRISIS AND CONFLICT

❖      Coverage is to be tested on the ‘touchstone of public interest, and must be factually accurate and objective

❖     There should be no live reporting that ‘facilitates publicity of any terrorist or militant outfit, its ideology or tends to evoke sympathy towards or glamorize their cause.’

❖     During live hostage situations and rescues, no details of pending rescue operations should be given or broadcast regarding methods or personnel.

❖     Respect should be shown to the dead and no gory visuals should be shown on TV

❖     Reporters should refrain from being in live, direct contact with victims, security forces, technical personnel or perpetrators.

❖     Networks should refrain from continuous/ unnecessary broadcast of archival footage that may agitate the viewers. (If any such footage is shown, it should clearly indicate ‘file’, with date and time.)

 

There has also been some attempt at self-regulation by journalists. Broadcasters have now agreed to do what should always have been done: no future crisis will be covered in real time. There will be a half-hour delay. Not only will this deny terrorists the advantage of knowing what is happening as it occurs, it will also allow the authorities to step in and stop the channels from telecasting operations that are best left secret.Emergency protocol will be followed. Under the "emergency protocol", broadcasters in the country will now delay live coverage of sensitive incidents and withhold information on security operations. Ministers will still be able to take channels off air, but it is seen as a "nuclear weapon.” The National Broadcasters Association also tries to ensure that the line between national interest and political interests stays clear. When they were announced, ministers, officials and scholars welcomed the NBA’s guidelines as a ‘step in the right direction,’ and accepted that both the government and the media had lessons to learn from the handling of the Mumbai attacks.

 ●       The Noida murders of teenage girl Aarushi Talwar and middle-aged Hemraj—live-in domestic help at the Talwars’ home—took place on May 16, 2008. Media reports, primarily on account of the CBI innuendos, had by now moved into the realm of certainties, resulting in widespread outrage against the Talwar couple though the reported, debated, and dramatized obviousness of the Talwars’ guilt had yet failed to produce any evidence. The media routinely insinuated though that the Talwars had influenced the investigation. The Talwar story lingered on primetime for a long while live footage dominated the reportage when the story appeared on prime time, far more disturbing were the reconstructed enactments, liberally mixed with old footage, to extend the life of the story beyond primetime. Some of these enactments were used in support of news stories, such as morphed footage suggesting a fourteen-year-old taking her clothes off to speculate about what family secrets might have led to Aarushi’s “honor killing.

●      Pathankot reporting by NDTV- When the operation was on in January this year, NDTV allegedly revealed information on the ammunition stockpiled in the airbase, MIGs, fighter-planes, rocket-launchers, mortars, helicopters, fuel-tanks etc which was likely to be used by the terrorists or their handlers to cause massive harm, the sources said. Official sources said that as the content appeared to be violative of the programming norms, a show cause notice was issued to the channel.The committee observed that the channel “appeared to give out the exact location of the remaining terrorists with regard to the sensitive assets in their vicinity” when they telecast in real time.The panel expressed “grave concern” that this was a matter of national security and that the channel had revealed sensitive details like location of ammunition depot viz-a-viz the space where the terrorists were holed up, location of school and residential areas.High-resolution images of the Pathankot Air Force base, showing the precise locations where aircraft were parked, were available prior to the attack on Google Maps, while multiple articles referring to aircraft types flown from there were available on the internet making it highly unlikely the terrorists would have had to rely on news broadcasts for this kind of information.

 Live-blogging by Journalists

Positive: For newspapers, this can be their version of live-reporting. On fast-moving stories, live blogs give the ability to post significant developments quickly – more quickly than editing and re-editing a news article. They also allow us to link out to other coverage, to include comments from Twitter and Facebook, to display multimedia (pictures, video and audio), and to include our audience in the comments below the line – all in one place. Neil McIntosh, the online editor of the Wall Street Journal Europe, says: "It's a form that's charming in its directness; at its best it generally does away with any writerly conceits, and demands the author just get on with telling you what's just happened."

Negative: They require careful, continuous signposting to guide the reader to the story's main points. When comments run into the hundreds, they need curating and managing. If done badly, they can descend into a mishmash of tweets and comments without context. They can be too easily deployed by editors on stories to which the format is not suited. And the name, live blogging, does not helpfully describe the format and suggests triviality. Almost everyone involved in live blogging sees the drawbacks. The potential for confusion, and the difficulty that users can encounter if they come across a live blog in the middle of a story, is clear.

 

REFERENCES:

●      http://dcac.du.ac.in/documents/E-Resource/2020/Metrial/420AakritiKohli22.pdf

●      https://www.tandfonline.com/doi/pdf/10.1207/s15506878jobem4502_9

●      https://www.slideshare.net/shailmadhur/live-reporting-for-tv-108321536

●      https://indianexpress.com/article/india/india-news-india/pathankot-terrorists-who-sparked-ban-on-ndtv-india-may-never-have-existed-3738025/

●      https://www.dw.com/en/ridiculous-and-arbitrary-indian-journalists-slam-ndtv-ban/a-36293627

●      https://www.google.co.in/amp/s/www.orfonline.org/expert-speak/2611-and-the-media-where-were-the-protocols-45705/

●      https://www.google.co.in/amp/s/www.hindustantimes.com/india-news/what-lessons-have-we-learnt-from-26-11/story-WWJtERNHtg7PjHUAtYoeAN_amp.html

●      https://www.google.co.in/amp/s/amp.theguardian.com/world/2008/dec/18/mumbai-terror-attacks-india

●      https://www.google.co.in/amp/s/m.economictimes.com/news/defence/ndtv-india-row-parrikar-says-its-a-security-issue/amp_articleshow/55262460.cms

 

 

SUBMITTED BY:

Deepika Saini

Palomi Gupta

Gaurvi Narang