In this Industry Spotlight with Ashish Pherwani , Partner - India for Media & Entertainment at Ernst & Young, and Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association, discussed the future of media and entertainment in India.
In this Industry Spotlight with Kamal Gianchandani, CEO of PVR Pictures and Chief of Strategy, PVR Ltd, and Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association, discussed the current landscape and future of the cinema industry in India.
In our latest Industry Spotlight by Creative First, Karan Taurani, Senior Vice President at Elara Capital, and Lohita Sujith, Senior Director of Copyright & Digital Economy at the Motion Picture Association, explored key trends shaping the entertainment industry and shared insights into predicting its future.
In this Industry Spotlight with Creative First, Prithul Kumar, Joint Secretary (Films), Ministry of Information & Broadcasting (MIB) and Managing Director, NFDC joined Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association to discuss MIB's new initiatives in the Indian film sector.
In this Industry Spotlight with Vikram Sahay, Joint Secretary, Ministry of Information and Broadcasting (MIB), Government of India and Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association, discussed the OCC Industry, IFFI and the newly launched Best Web Series Award.
Recently, HMJ Amit Bansal of the Delhi High Court delivered a judgment with far-reaching implications, as the Hon’ble Court rejected the Plaintiffs’ application for interim injunction in Digital Collectibles Pte. Ltd. & Ors. v. Galactus Funware Technology Pvt. Ltd. & Anr. [2023:DHC:2796].
Polite Society follows teen Londoner and aspiring stuntwoman Ria (Priya Kansara), who balances attempts to fit in at school and her video stunt blog with trying to thwart a budding romance between her big sister Lena (Ritu Arya) and possibly-too-good-to-be-true suitor Salim (Akshay Khanna).
Aashish Singh (CEO of Lyca Productions) joins Lohita Sujith (Sr. Director, Copyright & Digital Economy, MPA India) in an engaging discussion on the business of the creative process, shooting locations, and government incentives with regards to film-making.
The Guidelines have been issued with the intent to liberalise, consolidate and simplify the erstwhile 2011 and 2005 Guidelines on the subject, and inter alia deals with permissions to entities for Uplinking and Downlinking of Television Channels, setting up of Teleports, Teleport Hubs, use of DSNG/SNG Electronic News Gathering systems and more
In this Industry Spotlight, Pankaj Jaysinh discussed the current landscape for marketing and distribution of films in India.
We publish a lot of content here at CreativeFuture, on all manner of topics related to piracy, copyright, and the fight for the rights of creatives in the digital age. These are massively complex and difficult topics, and sometimes it becomes necessary to step back for a moment and think about what we’re fighting for and why it matters so much.
The Division Bench (“DB”) of the Delhi High Court on 15th September 2022 in the matter titled Lotus Pay Solutions Pvt. Ltd. & Anr. vs. Union of India & Ors. W.P. (C) 8215/ 2020, while dismissing a writ petition, has held that “payment aggregators” will fall within the definition of a “payment system” under Section 23A of the Payment and Settlement Systems Act, 2007 (“Act”).
In this Industry Spotlight, Dileep Singh Rathore discussed the current landscape for foreign film productions in India.
The Ministry of Communications (“MoC”) has issued a consultation paper on the “Need for a new legal framework governing Telecommunication in India”. While issuing the consultation paper, the MoC noted that the “India needs a new law which is clear, precise, and attuned to the realities of the sector for realizing the potential of telecommunication.” The MoC has sought suggestions from the public regarding the consultation paper until 25th August 2022.
Last week I talked about developments in Australia, Canada and the US regarding how to find ways to require large online platforms that aggregate news content for their users to share some of their digital advertising revenues with the producers of that content, namely news publishers and broadcasters
The study was based on a nation-wide survey of over 10,000 TV consumers and brings to light some interesting findings which go to strengthen the importance and relevance of TV even in today’s day and age when digital/OTT media and apps proliferating rapidly.
In this Industry Spotlight, Nishit Shetty discussed the current landscape and future for the VFX industry in India.
In this Industry Spotlight, Sunder Aaron discussed the globalization of Indian content.
In this Industry Spotlight, Senthil Kumar talks about evolving technologies in cinemas and film productions.
Remarks as Prepared for Delivery by MPA Chairman and CEO Charles Rivkin
In this Industry Spotlight, Vikram Mehra talks about how companies can innovate by listening to consumers and delivering on their needs.
The MPA today honored four individuals from the global policy and creative communities who have made notable contributions to the film, TV and streaming industry at the inaugural MPA Awards.
In this Industry Spotlight, Karan Bedi talks about the role of experimentation and innovation as a means to finding success in a constantly evolving M&E Industry.
Three years ago, Shemaroo made a strong push towards being a B2C brand with the launch of its platform, ShemarooMe. Kranti acknowledged that the company’s own platform isn’t the only piece of the digital puzzle. Shemaroo also considers YouTube as a serious draw for viewership.
Each month we hear from industry insiders in Australia and abroad to get their take on content piracy. Is content protection improving? How do we stop piracy? How does Australia compare to the rest of the world? These are some of the questions we'll be exploring with leaders across the content industry.
Each month we hear from industry insiders in Australia and abroad to get their take on content piracy. Is content protection improving? How do we stop piracy? How does Australia compare to the rest of the world? These are some of the questions we'll be exploring with leaders across the content industry.
Aparna Purohit (Head of India Originals at Amazon Prime Video, India) joins Lohita Sujith (Sr. Director, Copyright & Digital Economy) in an exciting discussion on the creative aspects of developing and presenting authentic content to Indian audiences.
A fruitful discussion with NS Nappinai, a Supreme Court advocate & founder of Cyber Saathi, on the need for a robust policy and a legislative framework for the creative economy in the digital age.
In this exclusive interview, Anil explains the pandemic’s effect on how audiences consume media, and how it acted as a catalyst to unlock new potential for filmmakers.
The Fund, a joint initiative of the Motion Picture Association and the Asia Pacific Screen Academy, aims to encourage and empower creative filmmakers.
Creative First is delighted to present an interaction with Rick Ambros, international media and entertainment executive, consultant and producer (India, China, SE Asia, US, Europe), and Consultant and Executive Producer for Applause Entertainment, India.
In the new featurette, the cast of The Matrix Resurrections reflects on what the original film meant to them.
In No Time to Die, Daniel Craig gets two hours and 43 minutes to show James Bond fans what they’ll be missing once he exits his five-movie run as the world’s most enduring British spy. Following Craig’s every step, car chase, and explosion along the way is Swedish DP Linus Sandgren.
For more than twenty years and counting, media piracy apologists have repeated some variation of the argument which says, “People are willing to pay for content as long as it is made conveniently available at a fair price.”
Section 230 of the CDA provides that internet intermediaries (internet platforms, websites, social media services) are not liable in civil law for content posted by users.
Twitter appoints personnel in compliance of with new IT Rules.
The Crown director Jessica Hobbs was also among the newly enshrined during the live broadcast, winning the Outstanding Directing for a Drama Series category for the season four finale of the beloved Netflix series.
This decision of the Allahabad High Court helps fortify settled tenets of Indian copyright law while also providing further clarity on the relevant factors to be accounted for by a court of law while dealing with alleged copyright infringement at the interim stage.
In this insightful interaction, Mr. Nagpal, MD & CEO, Tata Sky, shares his views on the ever-evolving nature of broadcast, how the sector adapted to the changes brought about by the Covid-19 pandemic, the demographic trends in India’s consumption patterns, and Tata Sky’s strategy going forward.
Collaboration between sporting bodies and rights holders is a key strategy in the fight against digital piracy, according to The Alliance for Creativity and Entertainment’s Neil Gane.
Having worked as both a filmmaker and a copyright lawyer, the issue of online piracy is one that is close to my heart. The copyright protection of an artist’s work is essential, firstly, to making a living but, secondly, to enable the funding of new works. Simply, it is a way of recognising an artist’s work.
What could be more Canadian than the pirating of hockey broadcasts, eh? It’s like Spaniards pirating broadcasts of bull fights. In neither case is it justified but it reflects how “pirate priorities” reflect the national psyche.
Disney’s latest blockbuster based on a ride, director Jaume Collet-Serra’s Jungle Cruise, is a banter-filled romp down the Amazon. Blue-blooded adventurer Lily (Emily Blunt) drags her fusspot brother, MacGregor (Jack Whitehall), to South America in pursuit of the petals of an all-powerful healing tree.
Taika Waititi has a tremendous amount going on at the moment. The writer/director/actor will next be seen in director Shawn Levy’s Free Guy, where he blessedly got a break from the writing and directing duties to simply co-star in the film with Ryan Reynolds and Jodie Comer.
Laden with special effects, big-name stars, and an audacious high concept, WandaVision represented a big swing for Marvel Studios when it debuted in January on Disney+. The bet paid off.
Mr. Roy Kapur talks about the impact the Covid-19 pandemic has had on Indian content producers, shares thoughts on the recent Cinematograph (Amendment) Bill, 2021 and the activities undertaken by the Producers Guild of India to support cine workers affected by the pandemic.
The Department related Parliamentary Standing Committee on Commerce submitted its 161st Report on Review of the Intellectual Property Regime in India.
The biggest impact of piracy, unfortunately, is a financial one. It is already difficult for creatives to earn a living through their work and piracy makes it that much harder. Less money flowing to creatives means less resources and opportunity for cultural goods which is a net loss to society as a whole.
Given a choice between reaching “voluntary” agreements with news publishers for use of news content online and being compelled to do so by government, the dominant internet platforms (Google, Facebook) are now doubling down on negotiations with news providers.
“It predicted by a study from Gartner that by 2020, 85% of customer service interactions in retail will be powered or influenced by some form of AI technology. AI global revenue is predicted by market intelligence firm Tractica to skyrocket from $643.7 million in 2016 to $36.8 billion in 2025.”
Making the action pop alongside director Cate Shortland is Black Widow stunt coordinator Rob Inch, who previously worked on Wonder Woman 1984, Rogue One: A Star Wars Story, and Captain America: The First Avenger. Speaking from England, where he’s prepping a new Marvel movie, Inch deconstructs Black Widow‘s most thrilling set-pieces.
The rise of the gig economy in India through various startups created work opportunities for millions besides providing “ease of living” and “ease of access” to millions of customers.
The DPIIT under the aegis of Ministry of Commerce & Industry has granted certificate of registration to Recorded Music Performance Limited (RMPL) under Section 33(3) of the Copyright Act, 1957 and permitted it to commence and carry on the copyright business in sound recording works.
On 17th June, 2021, the Central Government has issued a notification (Read notification here) amending the Cable Television Network Rules, 1994 to provide a statutory mechanism for the redressal of complaints relating to content broadcasted by the television channels.
Creative First in Conversation with Mr.Kamal Gianchandani, CEO of PVR Pictures Limited, and President of Multiplex Association of India.
Heritage Minister Steven Guilbeault is steaming full speed ahead with his strategy to get his arms around large internet platforms that deliver, or facilitate the delivery of, content to Canadians.
In conversation with Vivek Krishnani, Managing Director, Sony Pictures Films India
As we commemorate World Intellectual Property Day, with a special focus this year on the importance of IP protection for small and medium-sized enterprises (SMEs), I’d like you to imagine you’re watching a movie.
Throughout April 2021, the Global Innovation Policy Center hosted a series of events focused on ecosystems for innovation, creativity, and craftsmanship.
In conversation with Biren Ghose, Country Head in India for Technicolor.
Thank you, Uday, and thank you, FICCI, for inviting me to Frames. It’s an honor to speak before such a vibrant […]
Finance Minister proposes a draft bill in the lower house to shut IPAB.
Microsoft Scrambles the Cards–With Positive Implications for Canada and Others.
Welcome to the 2020 edition of CII Big Picture Summit’s Knowledge Report, in partnership with BCG, on the future of the Indian Media & Entertainment industry.
In his opening remarks, Dr. Ashish Kulkarni said that it is exciting to see how well the digital content economy has captured the imagination of the audience.
The best filmmakers combine technical mastery with an unrivaled ability to observe and articulate the human condition.
With a constant focus on sharing insights related to the media and entertainment industry, we are thankful to Ormax Media to allow us permission to share their insights through reports on our website and social media platforms.
I am writing today to mark World IP Day, April 26 and, as part of this salute to the work being done in protecting IP rights around the world, to highlight a growing global problem affecting IP stakeholders, streaming piracy.
As COVID-19 continues to impact on the screen entertainment business in India, Creative First aims to bring you regular updates on the status of India’s exhibition, distribution, production and streaming sectors.
The film industry has seen ground breaking changes in recent years. Online streaming technology now provides easier ways to reach audiences, and a growing young demographic generates a steady demand for a wide variety of content.
Concluding the first day of FICCI Frames, Rohit Shetty skilfully wove in insights from his illustrious career with the current needs and challenges of the Indian screen industry.
India, despite being the largest producer and consumer of movies, does not have a centralized box office system. In fact, it is remarkably opaque. And yet in an extremely diverse, complex and yet potent market such as India, the need for such a system cannot be understated.
In 2016, Maharashtra saw a massive growth in cyber crimes. The government responded by creating the Maharashtra Cyber Digital Crime Unit (MCDCU) and becoming the first state to launch a cyber police station in every district.
With Sanju and other recent successes, Fox Star Studios - India is at the top of it's game. Creative First caught up with Vijay Singh, CEO, Fox Star Studios to get an insight on what it takes to get to the top and stay there.
Creative First caught up with Vivek Krishnani - Managing Director, Sony Pictures India to talk about some of the changes in the industry and audience behavior, and what production companies can do to ensure the big screen continues to rise.
Change in technology results in change in consumer behaviour which is resulting in a significant change in the format and type of content that is being created. Creative First caught up with Siddharth Roy Kapur for some valuable insights on this evolving landscape.
Be it films or Fintech, anytime business is booming it’s good for the nation’s economy as a whole. Creative First spoke with Dharma Productions CEO Apoorva Mehta to discuss what makes a successful film and what role other stakeholders can play in supporting ongoing growth of the film industry.