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This book examines the evolution and journey of regional language television channels in India. The first of its kind, it looks at the coverage, uniqueness, ownership, and audiences of regional channels in 14 different languages across India, covering Hindi, Bengali, Marathi, Telugu, Tamil, Urdu, Assamese, Bhojpuri, Gujarati, Kannada, Kashmiri, Odia, Punjabi, and Malayalam. It brings together researchers, scholars, media professionals, and communication teachers to document and reflect on language as the site of culture, politics, market, and social representation. The volume discusses multiple media histories and their interlinkages from a subcontinental perspective by exploring the trajectories of regional language television through geographical boundaries, state, language, identities, and culture. It offers comparative analyses across regional language television channels and presents interpretive insights on television culture and commerce, contemporary challenges, mass media technology, and future relevance. Rich in empirical data, this book will be an essential read for scholars and researchers of media studies, television studies, communication studies, sociology, political studies, language studies, regional studies, and South Asian studies. It will also be useful to professionals and industry bodies in television media and is broadcasting, journalists, and television channels.
This book examines instances of transformative dissent, turning points or shifts in popular mobilisation patterns in contemporary India, while adopting a historical approach and analysing past events. Exploring the different continuities and discontinuities in mobilising patterns and dissident agency in India, the authors present a heterogeneous insurrectional pattern that pivoted around issues of caste, class, religion, land reform, labour, taxation and territorial control, with anti-colonialism movements becoming prominent in the first half of the twentieth century. The authors move beyond this to explore more recent templates of mobilisation which surfaced towards the end of the twentieth century, during India’s liberalisation period. With growing marketisation and technological advancement, unprecedented changes in social relations, growing economic opportunities and cultural transfusion taking place, the country became a ‘New India’ - one which aspired to be a global player in the wider technological public sphere. Tracing the historical trajectories of social movements in India, this book examines recent trends in digitised dissidence and explores new frontiers of protests, providing fresh insights for those researching the history of social movements, South Asian and Indian history and postcolonial studies.
The very rapid growth in the Indian media industries and the vibrancy of India's popular culture are making a working understanding of the Indian scene a prerequisite for any serious study of media in the twenty-first century. As one of the largest and most influential emerging economies in the world today, India now plays a crucial role in any serious discussion of social and economic change taking place at the global level. As new commercial and political alignments take shape in the face of new global circumstances, thinkers and decision-makers are inexorably drawn towards the reality of a new India being forged in the technological and cultural flux of global media flows. Taking an innovative interdisciplinary approach to the complex field of Indian media and society, this book combines a rich descriptive account with critical analysis designed to engender informed debate amongst students, academics and other researchers.
The over-the-top musicals of Bollywood may be the most familiar aspect of Indian popular culture, but there are many more, all explored in this fascinating volume. Pop Culture India! Media, Arts, and Lifestyle follows the rise of modern India's pop culture world, especially since the 1980s, when relaxed censorship and economic liberalization led to an explosion in movies, music, mass media, consumerism, spiritual practices, and more. It is a captivating introduction to a diverse nation whose appetite for entertainment has led to some surprising twists and turns in recent history. How did a popular Indian television series spark a change in government and the rise of Hindu nationalism? Are some Bollywood film companies laundering money for organized crime, or even al Qaeda? What accounts for the overwhelming popularity of that quaint vestige of colonialism, cricket? The answers, and many more intriguing insights, await the reader in Pop Culture India!
Television studies must now address a complex environment where change has been vigorous but uneven, and where local and national conditions vary significantly. Globalizing media industries, deregulatory policy regimes, the multiplication, convergence and trade in media formats, the emergence of new content production industries outside the US/UK umbrella, and the fragmentation of media audiences are all changing the nature of television today: its content, its industrial structure and how it is consumed. Television Studies after TV leads the way in developing new ways of understanding television in the post-broadcast era. With contributions from leading international scholars, it considers the full range of convergent media now implicated in understanding television, and also focuses on large non-Anglophone markets – such as Asia and Latin America — in order to accurately reflect the wide variety of structures, forms and content which now organise television around the world.
Study with special references to Gujaratis and Maratha Indic people in Bombay, India.
Understanding World Media Understanding World Media sets out to mirror world media and the freedom it enjoyed across the globe in about 200 countries. While media is an important part of academic research, concerns have been raised globally on its content, intent and freedom of expression. To the extent that even as per the data compiled by Reporters Without Borders, democratic India ranks below par at 138 in the World Press Freedom Index 2018 out of the 180 listed nations. Though, it is a question of debate and discussions to what extent media in India is considered free or under censorship. When India is emerging as a global power with over 55 percent of its population is under 35 years of age, interest in the world community and media is growing leaps and bounds. It is in this context that this book magnifies its mirror to bring facts about the status and understanding of media in the world. For any book like this, it will always have its challenges to cover subjects like media in a nutshell, but for today, this book is timely and relevant. It is a balanced and thoughtful effort to present such a comprehensive book in a crisp and concise manner, as it is difficult to get experts on various countries to write on their respective domains. We have put our utmost effort to consolidate all necessary information and analysis required for this collection and we are very hopeful that it will serve its purpose, fulfill the void and information gap about the world media. Understanding World Media is structured around two clear themes, the status of media in various countries and its freedom of expression. It is divided into five parts covering vast geographical areas in Asia, Europe, the Americas, Africa and Australia-Oceania.
This book explores the empirical and theoretical significance of understanding television as a dynamic technology, a creative industry, and a vibrant cultural form that is "at large" in South Asia. Bringing together prominent scholars who have shaped television studies in South Asia, as well as emerging scholars who address new topics, this book decisively positions television as a key site in the study of South Asian History and Culture. In doing so, it also positions the study of television in South Asia and the South Asian diaspora as crucial in the rethinking of global television history and opens up new directions for the future of television studies. This volume will be essential reading for scholars and teachers of media and communication studies, media history, anthropology, and sociology, besides being of great interest to policymakers and media professionals. This book was originally published as a special issue of South Asian History and Culture.
This book is going to be of immense use to all the students and professionals in the field of Journalism specialising in Television. And indispensable for Research Scholars who have joined for Phd., course in Journalism and Mass communication. Phd., is a Marathon and not a sprint.. ironically as much of a procedure as of knowledge. And in this marathon journey there are so many aspirants of Doctoral Degree who are struggling to get the right information which is essential and crucial in the early stages. I am sure this book will be accessible and affordable to them and to all the people who are interested in Social science research in the subject of Journalism and Mass Communication.
What media content attracts audiences across cultures and what does not? What does the cross-cultural audience demand depend on? The author takes a new approach to understanding cultural barriers to the success of foreign media content by analyzing the entry strategies of Time Warner, Disney, Viacom, News Corporation, and Bertelsmann with regard to China, India, and Japan in terms of their respective localization efforts. In-depth interviews with companies' representatives give an insight into how they view the need for locally-produced media in these countries. The author develops and employs the Lacuna and Universal Model that provides a new theoretical classification of reasons for the cross-cultural success and failure of media content, as well as the Vertical Barrier Chain that locates cultural barriers in the wider context of legal, political, and economic barriers to successful entry into foreign media markets.