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.
Index
- Public
Service Broadcasting
2.
Commercial
Media
3.
Community
Media
4.
The
Story of Zee TV
5.
Debate
on Hinglish used by Zee TV
6.
The
Origin of NDTV
7.
The
Birth of Lok Sabha and Rajya Sabha TV
8.
Sansad
TV
9.
Market
of Television News
10.
References
Public Service Broadcasting
Public Service Broadcasting (PSB) is broadcasting
made, financed and controlled by the public, for the public. It is neither
commercial nor state-owned, free from political interference and pressure from commercial
forces.
Through PSB, citizens are informed, educated and
also entertained. When guaranteed with pluralism, programming diversity,
editorial independence, appropriate funding, accountability and transparency,
public service broadcasting can serve as a cornerstone of democracy.
Public broadcasting may be nationally or locally
operated, depending on the country and the station. In some countries, a single
organization runs public broadcasting. Other countries have multiple
public-broadcasting organizations operating regionally or in different
languages. Historically, public broadcasting was once the dominant or only form
of broadcasting in many countries (with the notable exceptions of the United
States, Mexico and Brazil).
Objectives
The primary mission of public broadcasting is that
of public service, speaking to and engaging as a citizen. The British model has
been widely accepted as a universal definition. The model embodies the
following principles:
- Universal
geographic accessibility
·
Universal
appeal
·
Attention
to minorities
·
Contribution
to national identity and sense of community
·
Distance
from vested interests
·
Direct
funding and universality of payment
·
Competition
in good programming rather than numbers
·
Guidelines
that liberate rather than restrict
While application of certain principles may be
straightforward, as in the case of accessibility, some of the principles may be
poorly defined or difficult to implement. In the context of a shifting national
identity, the role of public broadcasting may be unclear. Likewise, the
subjective nature of good programming may raise the question of individual or
public taste.
Public Service Broadcasting in India
In India, Prasar Bharati is India's public
broadcaster. It is an autonomous corporation of the Ministry of Information and
Broadcasting (India), Government of India and comprises the Doordarshan
television network and All India Radio. Prasar Bharati was established on 23 November
1997, following a demand that the government owned broadcasters in India should
be given autonomy like those in many other countries. The Parliament of India
passed an Act to grant this autonomy in 1990, but it was not enacted until 15
September 1997. Though a public broadcaster, it airs commercial advertisements.
Commercial Media
Commercial media is media that do not rely,
directly and only, on public funding. Those media have to get their money from
private investors and commercials, but they do not have a public commitment.
They do not pay so much attention to issues which are not attractive for many
people, as they need high audience levels to obtain more commercials and
finance themselves.
Commercial media is media that is privately owned
by larger companies and corporations. The sole purpose of commercial media is
to make money off their programs and advertising (commercial).
The goal of commercial media is to capitalize on
the mass media industries. The main industries are newspapers, magazines,
television, and the internet.
Commercial Broadcasting
Commercial broadcasting (also called private
broadcasting) is the broadcasting of television programs and radio programming
by privately owned corporate media, as opposed to state sponsorship. It was the
United States’ first model of radio (and later television) during the 1920s, in
contrast with the public television model in Europe during the 1930s, 1940s and
1950s, which prevailed worldwide, except in the United States and Brazil, until
the 1980s.
Some major commercial broadcasters in India are ViacomCBS
Networks EMEAA, Colors TV, Zee Entertainment Enterprises, Zee TV, The Walt
Disney Company India, Star India etc.
Features
·
Advertising: Commercial broadcasting is primarily based on
the practice of airing radio advertisements and television advertisements for
profit. This is in contrast to public broadcasting, which receives government
subsidies and usually does not have paid advertising interrupting the show.
During pledge drives, some public broadcasters will interrupt shows to ask for
donations.
·
Paid Programming: Commercial broadcasting overlaps with paid
services such as cable television, radio and satellite television. Such
services are generally partially or wholly paid for by local subscribers and is
known as leased access. Other programming (particularly on cable television) is
produced by companies operating in much the same manner as advertising-funded
commercial broadcasters, and they (and often the local cable provider) sell
commercial time in a similar manner.
·
Ratings: Programming on commercial stations is more
ratings-driven—particularly during periods such as sweeps in the US and some
Latin American countries.
· Other Factors: Commercial broadcasting (especially free-to-air)
is sometimes controversial. One reason is a perceived lack of quality and risk
in the programming (to which more conservative elements respond that it is too
risqué much of the time), an excessively high ratio of advertising to program
time (especially on children's television), and a perceived failure to serve
the local interest due to media consolidation. Commercial radio (in particular)
is criticized for a perceived homogeneity in programming, covert politically motivated
censorship of content, and a desire to cut costs at the expense of a station's
identifiable personality. Politics is a major force in media criticism, with an
ongoing debate (especially in the United States) as to what moral standards –
if any – are to be applied to the airwaves.
Implications
·
Commercialism
has some very major influences on media, in numerous different ways. But it is
important to note that commercial forces are always influencing the type of
media that is being produced, whether it is local, national, or international.
Some of these implications have very negative effects, that can be somewhat
detrimental to media corporations. Such as large-scale layoffs, pulling of
funding, conflicts of interest, and instances of that nature.
·
Now
with commercial media being a major force in today’s society we have seen a
large portion of skewed information that is being released to the general
public. In an international and national standings, we don’t see major impact
of this problem because there are hundreds of companies releasing information,
so educating yourself on important news in not hard, with so many different
perspectives.
·
In
local terms, corporate media causes problems not just in the media that is
being produced, but in the industry, themselves. We are seeing a more and more
news outlets downsizing, and when this happens on a local level we are losing
the ability to have fair coverage of information. This is happening because of
the fact that with less workers we have less coverage of important topics that
impact the community.
·
The
implications of commercial media are growing and continuing to affect the
general public. The concentration of media ownership is narrowing, leaving only
a few people to dictate what media is being produced and distributed. It
creates a barrier between those in power and those that are not, exemplifying
the social inequalities and the current wealth gap.
Community Media
Community media are any form of media that
function in service of or by a community. It is the rise of all kinds of
alternative, oppositional, participatory and collaborative media practices that
have developed in the journalistic context of ‘community media,’ ‘we media,’
‘citizens media,’ ‘grassroot journalism’ or any radical alternative to on and
offline mainstream journalistic practices.
In other words, it is having access to or creating
local alternatives to mainstream broadcasting, like local community newspapers,
radio stations, or magazines.
Community Media aids in the process of building
citizenship and raising social awareness. “Participation” and “access” are a
large aspect in the rise of community media. Those who create media are being
encouraged to involve themselves in providing a platform for others to express
views. Community media is often given parameters when being defined by groups,
but often challenges these boundaries with its broad yet narrow structure.
Objectives
Community media put the tools of communication
into the hands of people in hundreds of communities, particularly women and
marginalised groups, allowing them to create their own means of cultural
expression, news, information and dialogue. Community media projects are run on
a not-for-profit, democratic basis and are based on voluntary participation in
program making and in management by members of civil society.
Community media contributes to peoples’
empowerment to improve their social and economic conditions, fight against
discrimination and racism, become more effectively involved in the democratic
development of their community and country and provide an alternative to
mainstream commercial content.
Role of Community Media
Community media take the form of broadcasting
and/or multimedia projects and share some of the following characteristics:
independence from governments, business companies, religious institutions and
political parties; not-for-profit orientation; voluntary participation of civil
society members in the devising and management of programmes; activities aiming
at social gain and community benefit; ownership by and accountability to local
communities and/or communities of interest which they serve; commitment to
inclusive and intercultural practices. Community media are civil society
organizations, usually registered as legal entities that offer and encourage
participation at different levels of their structures. Also referred to as
“third media sector”, community media have a clearly distinct identity
alongside national public service media and private commercial media.
As alternative and complementary channels of media
production and distribution, community media facilitate active citizenship and
political participation for all. They serve diverse communities and involve
thousands of volunteers in multilingual media productions, in training and in
management - with women, marginalized groups, artists, journalism students,
citizens, some with a migrant or refugee background, non-mainstream DJs, youth
and elderly people actively at the forefront.
Modes of Community Media
Community media can take all the forms of other
conventional media, such as print, radio, television, Web-based and mixed
media.
Community radio is particularly widespread around
the world with radio stations being founded to inform their listeners on issues
important to the community.
Grassroots Media
Grassroots media is focused more specifically on
media making by and for the local community that it serves making the
discussion narrow and precise. It is essentially a subset focusing on small scale
media projects which aid to bring different visions and perspectives to the “codes”
that are so easily embedded in the social psyche
Challenges
·
Despite
the social service they provide through their focus on local issues, community
media often face a number of challenges, including unfavourable regulation,
censorship, unfair licensing processes, inequitable access to the frequency
spectrum, lack of formal recognition, low funding, lack of skilled journalists
and media professionals, and competition from private and state broadcasters.
·
Community
media organizations are an important part of the fabric of democratic
societies, yet in many European countries they still lack formal, legal
recognition, fair access to distribution platforms and sustainable funding.
Funding typically comes from public sources, volunteers’ contributions,
participation-based training and grants for social-impact projects. In reality,
however, and due to the lack of clear recognition and status for community
media, special public funds for community media, where they exist, risk to be
easily removed or diverted to other media entities, including private and
profit-oriented projects.
·
Access
to adequate distribution technologies is challenging for community media who
are usually small-scale broadcasters who depend on affordable rates for author
rights, terrestrial frequencies and bandwidth on digital platforms. In most
European countries, the necessary technical equipment is obtained through
in-kind donations and work is done mainly by volunteers. Audio and video
broadcast services provided by community media are often undervalued and
underpaid, and rarely given due prominence on digital platforms.
_______
The Story of Zee TV
Zee TV
Zee TV (stylized as ZEE TV) is a Hindi-language
general entertainment pay television channel based in India, owned by Zee
Entertainment Enterprises, a subsidiary of the Essel Group. It is associated
with several other sister channels which provide services in other Indian
regional languages.
The chairman of the group is Subhash Chandra, who
is a BJP-backed member of the Rajya Sabha. It was launched on October 2, 1992,
as the flagship channel of Zee Telefilms Ltd (now Zee Entertainment
Enterprises). It is India's oldest Hindi-language pay television channel.
History and Origin
The advent of private channels started in India on
the 1990՚s after CNN broadcasted
The Gulf War. Hong Kong based STAR (Satellite Television Asian Region) entered
into an agreement with an Indian company and Zee TV was born. It became the
first privately owned Hindi satellite channel of India.
In 1982, Essel Group's Empire Holding Ltd. was
renamed to Zee Telefilms Ltd, as part of the Essel Group venture into mass
media and entertainment. Zee TV was launched on October 2, 1992, as the
flagship channel of the company. It began full-day broadcasts in 1993. Zee
Telefilms Ltd was renamed into the Zee Entertainment Enterprises Ltd on January
10, 2007, which continues to operate the entertainment channels of the Zee
Network. In 2013, Zee TV, along with its sister channels, went over a branding
overhaul. On 15 October 2017, coinciding Zee's twenty-five year silver jubilee,
all of its channels rebranded. On 30 May 2021, Zee TV planned to revamp its
look and air four new television series, but because of the COVID-19 pandemic,
it was postponed. Later, Zee TV planned to revamp on 23 August 2021 launching 2
new shows - Rishton Ka Manjha and Meet.
Several regional channels also came into being
during this period. Apart from the regional channels, a host of international
channels like CNN, BBC, and Discovery are also available to the Indian
television audience. With different categories of channels like 24-hour news
channels, religious channels, cartoon channels, and movie channels, there is
something for everyone to watch.
Programming
The channel mostly airs content intended for
family and coming-of-age generations ranging from comedy to drama. It has also
aired reality shows such as En Vidya Nokki, Sa Re Ga Ma Pa, I Can Do That,
India's Best Cinestars Ki Khoj, and Dance India Dance.
Zee TV launched a Nickelodeon-branded programming
block in 1999 as part of a distribution deal between Viacom International and
Zee Entertainment Enterprises. It was replaced by a new Cartoon Network block
in 2002.
Rapid Growth
·
Zee
TV aired three hours of programmes a day initially, with a movie and a mix of
old programmes from Doordarshan. After five months, it began Sunday morning
transmissions and established a trade promotion cell, which attracted
advertisers with its affordable rates. Almost within a year of its launch, it
had become a 24-hour entertainment channel with considerable rural penetration.
In August 1993, it became the first media company to offer shares to the
public.
·
The
year 1995 saw Zee TV reaching close to 11 million homes. This was the year its
extremely popular programme Sa Re Ga Ma, the first singing talent-based reality
show, was launched. Two other channels — El TV with regional programming and
Zee Cinema (the first Hindi cinema channel) — were added, consolidating market
viewership. Zee TV created its own pool of producers and even set up a cable
distribution network Siti Cable, which could send satellite signals from a
powerful master control room to local cable operators everywhere.
·
Vijayawada
saw the first such control room and many more followed, marking the entry of
multi-system operators (MSOs) in India. Through innovative programming,
including regional content, distribution and advertising, the channel retained
the top viewership slot.
·
In
2000, in what is acknowledged today as a monumental blunder, Zee TV turned down
both ‘Kaun Banega Crorepati (KBC)’ and ‘Kahani Ghar Ghar Ki’, which were
grabbed by Star TV. The rest, to use a cliché, is history. Star TV zoomed to
the top slot with the popularity created by these two shows alone.
·
But
Zee rallied and came back stronger than ever. Its ‘Indian Cricket League’ is
said to have later paved the way for the popularity of IPL. In 2003, it came up
with India’s first DTH service — Dish TV. Realising that women were the primary
viewers who preferred serials and soap operas to time-bound reality shows, Zee
TV concentrated on family-based entertainment. Storylines were researched in
detail and dialogues and scenes fine-tuned, with corrections made based on
viewer feedback.
Conscious Brand
Zee has tried to shrink its carbon footprint by
reducing electricity consumption and investing in carbon offset projects. It is
also taking up potable water projects and measuring water usage. Avoidance of
single-use plastic, source segregation of waste and responsible e-waste
disposal through external partners are other measures it undertakes for
environmental sustainability.
Its CSR projects cover varied areas — empowerment
of girls through social initiatives, integrated rural development, organic food
development, preservation of heritage through partnership and collaboration
with cultural custodians, providing relief and rehabilitation during disasters,
and employee volunteering.
Zee TV was the only M&E brand that featured
among the ‘Top 25 Most Valued Brands’ in India (Millward Brown study). The
‘Great Place to Work Institute’ recognised it thrice as one of ‘India’s Best
Places to Work For.’ It has won multiple awards in Promax 2019 and CMO Asia
Awards across channels. ZEE Cinema won the ‘Global Marketing Excellence’ award.
ZEE5 won the ‘OTT platform of the year award’ in Promax 2020 OTT Digital
Marketing and Innovation Awards and Trust Research Advisory’s ‘India’s Most
Desired Video Streaming Brand’ award.
Debate on Hinglish used by Zee TV
The role of television - as the leading and most
international media - is examined, focusing on the emergence of new media
languages in countries such as India, one of the world's biggest media markets.
Language has been a key factor in the success or
failure of new television channels
in India, where the expansion of Western
television as a result of media globalisation and availability of new
technologies, namely satellite and cable television, have transformed the broadcasting landscape. There has
been an emergence and steady growth of a new mediated language -
Hinglish, a mixture of Hindi, the most widely used language in India, and English, the
medium of international communication and global media. The hybridisation of the national to the global
culture is examined with the case study of India's private television networks - such as
Zee TV. What are the factors responsible for hybrid television? The cultural
economy of the phenomenon is explored and the question is posed - is hybrid
language the future of television? If so, who benefits from programming in
hybrid languages and who loses out? For centuries, language has defined national,
regional or ethnic identity? Will hybridisation lead to blurring of identities?
What role will the global image industry have in it?
The Coming of Hinglish
Western-owned or inspired television recognised
this language 'problem' and therefore, encouraged mixing of English and Hindi
and the evolution of a hybrid media language - Hinglish. The emergence of a
mixed media idiom, characterised by the growth of Hinglish, has dominated
cultural production in the India of 1990s. Hinglish has been identified by the
burgeoning mass media as the language of the youth of a 'liberalised' and
'modern' India. The language of the mass media reflects prevailing cultural
trends in a society and if Hinglish - both in its verbal and visual version -
has become a key element of media language - it signifies the growing
importance of English language in the media discourse. By regularly using it,
television constantly gives the new language currency and ultimately legitimacy.
Hinglish and Zee TV
While a form of Hinglish had been in existence in
urban north India for decades, it was popularised by Zee TV, India's first
private Hindi-language and most successful satellite channel (Thomas, 1998).
Launched in 1992 by the Essel Group of Indian entrepreneur Subhash Chandra and
targeted at the mass market with its pioneering Hindi-films-based television
entertainment, Zee TV broke new grounds in nationally produced entertainment -
adapting derivatives of Western programme formats such as quiz contests,
game-and-chat shows and its own version of MTV, Music Asia. This music-based
channel has contributed immensely to the popularisation of Hinglish, particularly
among youth. Music Asia used Indian languages with elements of popular Indian
culture, regional and folk to rework them around the rhythm and beat of Western
popular music with accompanying visuals located in India and Indian milieus.
Having entered popular youth music, Hinglish has also become the language of
music albums for children, for example, Jantar Mantar, a fusion of indipop,
rap, reggae, samba and party songs, catchy rhymes and narrative stories.
Zee was following a trend which began in India's
film industry, the so-called Bollywood, where use of Hinglish in dialogues and
in songs has steadily increased in the 1990s. The advertising industry too
contributed significantly in popularising the new hybridity, with such hugely successful
commercials using Hinglish as Yehi hai (only this is) right choice, baby for Pepsi.
Zee was the first network to elevate this new
language by using it in a more serious genre such as news, which had always
been in either pure Hindi or in ‘BBC English’. It received a boost when Zee
News adopted the style of Hinglish. By using English words, Zee aimed to expand
its reach beyond the Hindi-speaking regions of India to cater to regional
audience, and the South Asian diaspora, who may be more amenable to a hybrid
variety of television. Like other commercial channels, Zee is dependent on
advertisers, and is therefore acutely aware that language can influence people
in their buying choices, a contributing factor why it used Hinglish, the
language of the urban middle class.
Other channels, even those originally targeted
exclusively at the English-fluent Westernised Indians, followed on the footsteps
of Zee, and were forced to use Hinglish to widen their reach. One example of
this global-local hybridisation is to be seen in the way Star Plus, the main
India-specific channel of the Star network, was marketed, with its motto -
'Aapki boli - aapka Plus Point' (Your own language is your Plus point).
The Expansion of Hinglish
Zee was among the first to recognise the potential
of overseas markets for its programming. In its zeal to rope in pan-Indian
audiences scattered throughout the world, Zee developed a new idiom which by
virtue of sheer reach of the medium contributed to democratising Hinglish.
After Star TV purchased 50 per cent of Asia Today (the Hong Kong-based
broadcaster of Zee TV) in 1993, it became Zee's partner in India, facilitating
the Zee network's expansion within India and outside (Tobin, i 999). Following
their 1992 launch in the Middle East, Zee TV entered the lucrative British
market in 1995, when it bought TV Asia, which was already established in the UK.
In 1999, Zee was available on the Sky network and claimed to have one million subscribers in UK and continental Europe. It was
one of the first channels to go digital in the UK, offering programming in
Hindi and other South Asian languages, namely Bengali, Urdu, Gujarati and Punjabi (Balakrishnan,
2000). Having acquired a base in the UK, Zee is expanding into mainland Europe -
already its UK- based feed is available on Portuguese cable platform TV Cabo,
Norwegian cable operator Telenor, TeleDenmark in Denmark and on the Casema cable
system in the Netherlands. In 1997, Zee entered into a joint venture with a
South Africa-based platform operator, MultiChoice, and within two years, it had 50,000
subscribers, mostly in South Africa.
By 2000, Zee claimed to be 'the world's largest
Asian television network,' covering Asia, Europe, US and Africa, catering to
the 24 million strong Indian diaspora. In Asia, where it says it has a total
viewership of 180 million, the network spans more than 43 countries and offers
round the clock programming. Having reached more than 23 million homes in the
Indian sub-continent and United Arab Emirates, Zee's strategy now is to expand
its operations in the lucrative North American market.
Zee considered its strength to be its indigenous
programming in Indian languages. After Star started making programmes in Hindi,
it became a direct competitor for Zee, creating business rivalry between the
two operations of News Corporation in India. In September 1999, in an
unprecedented action, Zee bought back Star's 50 per cent share in the company,
establishing Zee has a major media player in its own right. By 2000, Zee's
media and communication empire included cable and satellite channels in three
continents, along with interests in film-production, publishing, cable
distribution and satellite telephones. In mid-2000, Zee had three subscription
channels - Zee Cinema, Zee Movies and Zee English as well as four regional
channels under its Alpha bouquet - Alpha Marathi, Alpha Gujarati, Alpha Punjabi
and Alpha Bengali. In addition, the network also had three free-to-air channels
- Zee TV, Zee News and Music Asia (Satellite & Cable TV, 2000).
Conclusion
Like other hybridised forms of language, Hinglish
does not have a clearly defined
phonology, grammar and lexicon. The degree of
language mixing is also varied, given the linguistic complexity of a country of
continental character. Such a phenomenon is not typical to India but it can certainly
be seen as a part of the globalisation process for the homogenisation of
language (Mohan, 1995).
-------------------------
The Origin of NDTV
New Delhi Television Ltd is an Indian news media
company focusing on broadcast and digital news publication. The company is
considered to be a legacy brand that pioneered independent news broadcasting in
India, and is credited for launching the first 24x7 news channel and the first
lifestyle channel in the country. It owns and operates the broadcast news
channels of NDTV India and NDTV 24x7. The two channels of the company have
received 32 Ramnath Goenka Excellence in Journalism Awards.
History and Origin
NDTV was founded in 1984, by the journalist
Radhika Roy and the economist Prannoy Roy, a husband-wife duo from the city of
Kolkata in the state of West Bengal. It began as a production house for news
segments for the public broadcaster Doordarshan and international satellite
channels when television broadcasting was a state monopoly and transitioned
into the first independent news network in India. The company launched the
first 24x7 news channel in partnership with Star India in 1998.
Between 1998 and 2003, NDTV was in an exclusive
agreement with Star India to produce all its news segment. In 2003, the company
became an independent broadcasting network with the simultaneous launch of the
Hindi and English language news channels known as NDTV India and NDTV 24x7. It
also launched a business news channel NDTV Profit which was later converted
into an information and entertainment channel NDTV Prime. The company has had
business interests in general entertainment and e-commerce, and is part of the
management of a number of broadcast channels including the lifestyle channel
NDTV Good Times, the infotainment channel Astro Awani and the news channel
Independent Television through various joint ventures.
Broadcast Channels
NDTV operates three broadcast channels which
includes two news channels and one infotainment channel. The company has a
stake three more channels which are managed through joint ventures. In
addition, it has auxiliary services subsidiaries such as NDTV Labs, a research
and development company set up exclusively to augment production process within
the group, and NDTV Emerging Markets, a consultancy firm set up to assist in
the launch of NDTV news channels outside India.
English and Hindi Broadcasts
The English language news channel NDTV 24x7 is
considered to be the first 24x7 news channel in India, being a successor to
Star News which was founded by NDTV and Star India. It is available
internationally, through various distribution partnerships including one with
Time Warner Cable and DirecTV in the United States. The channel operates under
the designation of ATN NDTV 24x7 in Canada as it broadcasts its programming
through the Asian Television Network.
The Hindi language news channel NDTV India is a
national news channel and has widespread viewership in India. The channel is
closely associated with its editor-in-chief Ravish Kumar, the recipient of a
number of distinguished awards including the Ramon Magsaysay Award and considered
to be one of the most influential journalists in India.
The infotainment channel NDTV Prime was known as
an innovation for being part of a two in one hybrid channel with NDTV Profit, with
the same channel providing business news in daytime during weekdays under the
designation of Profit and information and entertainment at other times under
the designation of Prime. The channel was later converted into a full-time
infotainment channel and the business news programs shifted to NDTV 24x7.
The subsidiary NDTV Lifestyle which launched the
first lifestyle channel in India called NDTV Good Times, continues to operate
the channel in a joint venture with the Southeast Asian media company Astro. NDTV
also has two joint ventures where it manages the broadcast infrastructure of
the infotainment channel Astro Awani in Southeast Asian and manages the news
channel Independent Television with BEXIMCO in Bangladesh.
Growth of NDTV
New Delhi Television (NDTV) was founded in 1988.
It started its journey by live election coverage in India. Later in 1998 it
became India’s first 24–hour channel in alliance with Star. During this period,
it also produced 80% of the content for BBC India. It also launched NDTV Online
in 1998.
Today NDTV is one of India’s first and largest
private producer of news, current affairs and entertainment television.
The company operates as a television media company
in India and internationally. The company operates NDTV 24X7, an English news
channel; NDTV India, a Hindi news channel; NDTV Profit, a business news
channel; NDTV Good Times, a lifestyle channel; and NDTV Hindu, the Chennai’s
city–specific English news and entertainment channel. It also operates NDTV
Convergence, a triple play for the synergies between television, Internet, and
mobile; NGEN Media Services, a joint venture with Genpact to outsource media
post–production services and digital asset management, as well as logging,
editing, and graphics services; and NDTV Music.
In addition, the company owns various portals and
subsites, including NDTV.com, NDTV Profit, Khabar, Movies, Cricket, Doctor,
Cooks, Good Times, and Tubaah video site; and offers mobile applications for
iPad, iPhone, Android, and BlackBerry users. It has strategic alliance with
South Asia Creative Assets Limited to create lifestyle channels in India. New
Delhi Television Limited was incorporated in 1988 and is based in New Delhi,
India.
NDTV has also launched 'Astro Awani' channel in
Indonesia in partnership with Astro, a leading South East Asia media group. It
is a 24-hour news, infotainment and lifestyle channel. It has also launched
NDTV Arabia catering to the Middle East countries.
NDTV has also launched NDTV Metro-nation Channel.
It is India’s first English city channel exclusive for Delhi and NCR that
provides breaking news.
____________
The Birth of Lok Sabha and Rajya Sabha TV
Lok Sabha TV
Lok Sabha TV was an Indian public cable television
network channel that offered coverage of central government proceedings and
other public affairs programming. Its remit was to make accessible to all the
work of the parliamentary and legislative bodies of India.
The channel broadcast live and recorded coverage
of the Lok Sabha (lower house of Parliament) while Rajya Sabha TV covered the sessions
of the Rajya Sabha (upper house of Parliament).
In 2021, Lok Sabha TV merged with Rajya Sabha TV
to form Sansad TV.
History of Lok Sabha TV
Select Parliamentary proceedings have been
telecast in India since 1989, when the President's address to Parliament was
shown on live television. After 1994 the Question Hours of both Houses were
broadcast live on alternate weeks on both satellite television and All India
Radio. The broadcasts were scheduled to ensure that on a given week proceedings
in both Houses were aired, one on TV and the other on radio.
In 2006, DD Lok Sabha was replaced by Lok Sabha TV
(LSTV), a 24-hour TV channel broadcasting in Hindi and English, which is owned
and operated entirely by the Lok Sabha itself, broadcasting live the proceedings
of the Lok Sabha and also various cultural and educational programs and panel
discussions, when the Lok Sabha is not in session.
Lok Sabha TV is a must-carry channel in India, and
all television service providers (Direct to Home as well as cable TV providers)
must carry this channel, as mandated in the advisory issued by the Indian
government in 2015 and still in force.
Currently Lok Sabha TV is headed by Aashish Joshi,
Chief Executive & Editor-in-Chief a well-known Journalist and
Media/Broadcast professional, and the current editor of the national channel.
The Channel's programming is headed by Sumit Singh (Executive
Director-Programmes), a journalist and media professional who also anchors a
popular show called 'Know Your MP' and Technical headed by Abhishek Agrawal,
Senior Technical Manager.
Dedicated Parliamentary Channels
With efforts of the Lok Sabha and Prasar Bharati,
in 2004 two dedicated satellite channels were set up to telecast live the
proceedings of both Houses of Parliament. In July 2006, DD Lok Sabha was
replaced by Lok Sabha Television, which is owned and operated by the Lok Sabha
itself. Lok Sabha Television also airs other national ceremonies, such as the
Oath-taking ceremony of the President of India, conferring of awards to Parliamentarians,
and addresses by foreign dignitaries. Private television channels are allowed
to use these feeds subject to payment and conditions laid down by the Lok Sabha
Secretariat. In addition, video footage of proceedings is stored in the
Parliamentary Archives. When Parliament is not in session, these channels air
general informative programs, particularly those related to effective
government.
Rajya Sabha TV
Rajya Sabha TV was a public cable television
network channel owned and operated by Rajya Sabha that covered the proceedings
of Rajya Sabha (the Upper House of the Parliament of India). Apart from
telecasting live coverage of Rajya Sabha proceedings, RSTV also brought
detailed analyses of parliamentary affairs. While focused on current national
and international affairs, it provided a platform for knowledge-based
programmes for the discerning viewer. The channel offered special attention to
legislative business undertaken by the Parliament.
In March 2021, this channel and Lok Sabha TV were
merged to form a combined parliamentary service, Sansad TV.
Rajya Sabha TV produced the 10-part TV mini-series
Samvidhaan, which was directed by the noted film director Shyam Benegal.
Rajya Sabha TV also produced a teleserial and
film, Raag Desh, on the trial of Indian National Army officers during British
rule. The serial was directed by Tigmanshu Dhulia.
Important Features and Achievements
Rajya Sabha TV was a must-carry channel in India,
and all television service providers (Direct to Home as well as cable TV
providers) must carry this channel, as mandated in the advisory issued by the
Indian government in 2015 and still in force.
In recent years, Rajya Sabha TV has gained
prominence among Indian news and current affairs television channels. Its
YouTube channel now has over 5 million subscribers, much ahead of other
channels in the same/ similar niches. Now about a million subscribers are added
every six months. Some of its shows have been viewed millions of times on
YouTube.
On BARC, the audience measurement system for
television channels in India, daily programmes of Rajya Sabha TV figure among
the top viewed programmes.
The telecast of live proceedings of the Rajya
Sabha (the upper house of the Indian parliament) done by Rajya Sabha TV is
carried live by most other channels in their news telecasts, without cost or
attribution unless used in programmes.
Sansad TV
Sansad Television is an Indian government
television service, which broadcasts programming of the two Houses of Indian
Parliament and other public affairs programming.
It was formed in March, 2021 by amalgamating the
existing house channels, Lok Sabha TV and the Rajya Sabha TV. Although,
separate satellite channels are broadcast for each House. Provisionally, the
channel will have about 35 themes on which programmes will be aired, and the
programmes will be similar, but in two languages: English and Hindi.
History
Ravi Capoor, a retired IAS officer, was appointed
as the CEO of the channel on 1 March, 2021. "During the intersession
period and beyond the working hours of Parliament, both will telecast common
content to a large extent. The LSTV platform would telecast programmes in
Hindi, while RSTV would do so in English. The two language variants, it was
felt, enables better branding and increased viewership," a top official
said. "The attempt is to go beyond the proceedings of the Houses and show
the functioning of Parliament and parliamentarians when the House is not in
session."
Programming of Sansad TV
Sansad TV programming primarily includes
four categories:
·
Functioning
of Parliament & democratic institutions
·
Governance
and implementation of schemes & policies
·
History
& culture of India and
·
Issues,
interests and concerns of contemporary nature.
________
Market of Television News
How do Media Markets Work?
Local media consists of local television stations,
radio stations, and newspapers. There are also a rising number of hyper-local,
digital publications.
While their newsrooms are set up differently,
their mission is the same. They each aim to serve information relevant to a
geographically-specific audience.
How are those audiences defined?
For television and radio stations, the audience is
defined by the reach of their broadcast signal. For newspapers, the audience is
defined by reach of their circulation. Sometimes, these overlap and share large
portions of the same audience, especially in larger communities. But
oftentimes, newspapers can be increasingly local.
How Local Television Media Markets Operate
A television station’s audience is determined by
its Designated Market Area (DMA). DMAs are based on population size and the
physical reach of a broadcast signal.
Only those living inside the confines of the
broadcast signal can turn their Tv’s to view the local evening news. And only
those driving within the geographic boundaries of designated media markets can
listen to local radio programming.
The larger the population size within that radius,
the “higher” the DMA, and the more valuable a media placement becomes. For
example, New York City is DMA #1 with a potential audience of 6.8 million.
Meanwhile, a smaller city such as Glendive, Montana is DMA #210, with a
potential audience of 3,600 people.
The combined 210 market areas across the United
States reach a total of 107 million TV homes. From an SEO perspective, digital
platforms of media in bigger cities tend to carry higher Domain Authorities
(DA). A digital placement in a larger market, means a greater transfer of
authority to your site with every link.
Sources of Income for TV News Channels
While watching any TV show, news or any other
thing, several advertisements run in between of all kinds (some on repeat). For
displaying this advertisement in between the shows, advertisers pay some amount
of charge to the TV channels. The amount of charge varies as per its duration
as some ads are of 5 seconds or others of 10 seconds.
The major source of income for the TV channels is
received from the advertisers on displaying their ads. In fact, this is not
limited to India only, every daily soap and channel earns its money from
advertisements only.
Although these earnings through advertising aren't
fixed. Every TV channel charges differently when it comes to displaying ads at
various times. The biggest advantage for TV channels is its procedure of
money-generating through advertising.
When it comes to how TV channels make money, they
are split into two major categories. These are listed below:
1.
TRP
TRP is elaborated as
Television Rating Point. A target rating point is a metric used in marketing
and advertising to compare target audience impressions of a campaign or
advertisement through a communication medium relative to the target audience
population size. In the particular case of television, a device is attached to
the TV set in a few thousand viewers' houses to measure impressions. These
numbers are treated as a sample from the overall TV owners in different
geographical and demographic sectors. Using a device, a special code is
telecasted during the programme, which records the time and the programme that
a viewer watches on a particular day. The average is taken for a 30-day period,
which gives the viewership status for the particular channel. This has an
average limit between 0-3.0.
In this, TV shows and
channels are evaluated by their numbers of views per second. This also
determines the popularity and love for the show or channel among the audience.
The higher the TRP, the higher profit TV channels earn.
Now, it comes to how they
earn through this? Well, their popularity is alternatively specified by the
number of advertisements shown during the show. As ads are the core for media
houses and publications.
The amount of money
generated through this is distributed among the producers and TV channels in an
agreeable proportion. However, the TV channels earn by the GRP, Gross Rating
Point. This is the standard advertising measure to calculate the ratio of total
target market reached multiplied by the susceptibility frequency.
Calculating TRP
In India, two electronic
methods are there for calculating TRP:
a)
People
meters device is installed in some places or set in selected homes to calculate
the TRP. In this way some thousand viewers are surveyed in the form of justice
and sampling. These gadgets record data about the channel or programme watched
by the family members or selected people. Through this meter the information of
TV channel or programme for one minute is carried out by the INTAM a monitoring
team i.e. Indian Television Audience measurement. After analysing the
information, the team decides what is the TRP of the channel or programme. Or
we can say that this data is later analysed by the agency to create a national
TRP data of various TV channels and TV programmes.
b)
Second
method is known as picture matching where the people meter records a small
portion of the picture that is being watched on the TV. This data is collected
from a set of homes in the form of pictures and later on is analysed to
calculate the TRPs.
2.
DTH Cable Operators
This is one of the very
intriguing ways for TV channels to make money. We all have used or heard about
the set-up-box connections. In this, we would have to subscribe to some
channels so that we watch them.
When we do so, a little
amount of the total charge is given to the TV channels. This generates a good
amount of money for the TV channels. Generally, people subscribe to high TRP
channels only, the other low TRP channels are just working towards increasing
their views. They usually do not charge money as they come free.
How Much do TV Channels Earn?
Through advertisements, there isn't any fixed rate
of money that the advisor would pay. Suppose, a TV channel charges Rs. 2 lakhs
for 20 seconds of the ad. Then on a 25 seconds ad, it would charge 2 lakh and
50 thousand. Different channels charge different amounts of money from the
advisors, based on their terms and conditions.
However, the rate of the ads generally depends
upon the proportion of TRP as it evaluates the number of people watching the
channel. When the TRP of any channel is high, its rate of advertisements also
increases.
Talking about the highest TRP channels, Colors,
Zee TV, Star Plus, Zee News, India TV, Sony, ABP news, and others, have the
highest rate of advertisements. These channels charge around 3-4 lakhs for a
10-second ad.
Conclusion
TV channels earn a fancy amount of money mostly by
advertising. It basically shows some seconds of advertisement in between its
show and then charges some amount of money to the advertising company.
The TV channels with the high TRP come out with
the highest advertising rates. With an enormous fan base, TV channels are
growing more promptly and are receiving great advertising deals.
References
http://www.unesco.org/new/en/communication-and-information/media-development/public-service-broadcasting/
https://en.wikipedia.org/wiki/Public_broadcasting
https://mediastudies.pressbooks.com/chapter/the-implications-of-commercial-media/
https://www.igi-global.com/dictionary/public-media-coverage-of-rare-diseases-and-disorders/83060
https://en.wikipedia.org/wiki/Commercial_broadcasting#Features
https://en.wikipedia.org/wiki/Community_media
http://europeanjournalists.org/mediaagainsthate/what-is-community-media/
https://www.coe.int/en/web/freedom-expression/community-media
https://bloncampus.thehindubusinessline.com/columns/brand-basics/zee-tv-running-the-show-even-after-decades/article33882765.ece
https://www.flexiprep.com/NIOS-Notes/Senior-Secondary/Mass-Communication/NIOS-Class-12-Mass-Communication-Ch-13-Television-in-India.html
https://en.wikipedia.org/wiki/Zee_TV#:~:text=Zee%20TV%20was%20launched%20on,channels%20of%20the%20Zee%20Network
file:///C:/Users/satak/Downloads/aodonoghue,+Journal+manager,+TCR+2000+12.2+pp.+67-79.pdf
https://en.wikipedia.org/wiki/NDTV#Channels_and_subsidiaries
https://www.ndtv.com/business/stock/new-delhi-television-ltd_ndtv/reports
https://en.wikipedia.org/wiki/Lok_Sabha_TV
https://en.wikipedia.org/wiki/Rajya_Sabha_TV
https://www.gktoday.in/current-affairs/sansad-tv-to-be-launched/
https://www.digitalthirdcoast.com/blog/local-media-markets-and-news-ownership
https://startuptalky.com/tv-channels-revenue-explained/
https://en.wikipedia.org/wiki/Target_rating_point
------------------------------------
Compiled and Edited by
Satakshi Darmwal
Batch of 2023
B.A. (Hons.) Journalism
Lady Shri Ram College for Women,
New Delhi
