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§ºÀıÀB ¨sÁgÀvÀªÀÅ §zÀ¯ÁªÀuÉAiÀÄ£ÀÄß C£ÀĨsÀ«¹zÀ CvÀåAvÀ ¸ÀàµÀÖªÁzÀ ªÀiÁUÀðªÉAzÀgÉ zÀÆgÀzÀ±Àð£ÀzÀ ªÀÄÆ®PÀ.

DzÀgÀÆ GzÀåªÀĪÀÅ ºÉZÀÄÑ ¨É¼ÉzÀµÀÆÖ CzÀÄ £ÀªÀÄä£ÀÄß czÀæUÉƽ¹zÉ. zÀÆgÀzÀ±Àð£ÀªÀ£ÀÄß 1959gÀ°è ¨sÁgÀvÀPÉÌ ¥ÀjZÀ¬Ä¸À¯Á¬ÄvÀÄ
DzÀgÉ 30 ªÀµÀðUÀ½AzÀ £ÀªÀÄä°è MAzÉà MAzÀÄ gÁ¶ÖçÃAiÀÄ ZÁ£É¯ï EvÀÄÛ, CzÀÄ «gÀ¼ÀªÁV fêÀ£ÀzÀ°è ¹r¬ÄvÀÄ. E¥ÀàvÉöÛ ÊzÀÄ
ªÀµÀðUÀ¼À £ÀAvÀgÀ £ÀªÀÄä §½ 24×7 n« ªÀiÁvÀæ EzÉ

MAzÁ£ÉÆAzÀÄ PÁ®zÀ°è CAzÀgÉ 1970gÀ zÀ±ÀPÀzÀ°è £ÁªÀÅ PÀĽvÀÄ £ÉÆÃqÀÄwÛzÉݪÀÅ. QlQAiÀÄ ºÉÆgÀUÉ ZÁªÀtA iÀÄ
ªÉÄÃ¯É ¥ÀĸÀPÛ ÀzÉƼÀUÉ. ¥ÀAiÀiÁðAiÀĪÁV, £ÁªÀÅ BBC AiÀÄ mɸïÖ ªÀiÁåZï ¸ÉàµÀ¯ï, ©£ÁPÁ VÃvÁä¯Á CxÀªÁ ¥sÉÆøÀð¸ï
«£ÀAwAiÀÄ£ÀÄß PÉüÀĪÀ mÁæ¤ì¸ÀÖgï gÉÃrAiÉƪÀ£ÀÄß £ÉÆÃqÀÄvÉÃÛ ªÉ.

80gÀ zÀ±ÀPÀzÀ DgÀA¨sÀzÀ ªÉüÉUÉ £ÁªÀÅ n« ¸Émï ªÀÄvÀÄÛ zÀÆgÀzÀ±Àð£À (rr) C£ÀÄß £ÉÆÃqÀ¯ÁgÀA©ü¹zɪÀÅ CzÀÄ D
¢£ÀUÀ¼À°è MAzÉà «µÀAiÀĪÁVvÀÄÛ. ¸ÀPÁðgÀ £ÀqɸÀĪÀ rr PÀȶ zÀ±Àð£ÀªÀ£ÀÄß vÀAiÀiÁj¸À§ºÀÄzÉà DzÀgÉ ªÀÄ£ÀgÀAd£É? £Áºï
DzÀÝjAzÀ n« ¸Émï C£ÀÄß UËgÀªÀAiÀÄÄvÀªÁV ªÉÄÃf£À §mÉÖAiÀÄ°è ºÉÆ¢¸À¯Á¬ÄvÀÄ ªÀÄvÀÄÛ ªÀ¸ÀÄÛ r Dmïð JAzÀÄ ªÉÄaÑzÀgÀÄ.
1980gÀ zÀ±ÀPÀzÀ ªÀÄzsÀå¨sÁUÀzÀ°è DD AiÀÄ ¥ÁæAiÉÆÃfvÀ PÁAiÀÄðPÀæªÀĪÀÅ ªÉÆzÀ® ¨ÁjUÉ zÀÆgÀzÀ±Àð£ÀPÉÌ fêÀ vÀÄA©vÀÄ. £ÁªÀÅ
£ÀQÌzÉÝÃªÉ (AiÉÄà eÉÆà ºÉÊ fAzÀV), £ÁªÀÅ C¼ÀÄwÛzÉݪÀÅ (§Ä¤AiÀiÁzï), £ÁªÀÅ ¥ÉnÖUÉAiÀÄ£ÀÄß ¥ÀÆf¹zÉÝÃªÉ (gÁªÀiÁAiÀÄt
ªÀÄvÀÄÛ ªÀĺÁ¨sÁgÀvÀ).

EzÀÄ ¨sÁgÀwÃAiÀÄ zÀÆgÀzÀ±Àð£ÀzÀ ¸ÀĪÀtðAiÀÄÄUÀªÁVvÀÄÛ ªÀÄvÀÄÛ EzÀÄ ¥Àæw¢£À ¸ÀAeÉ £ÀªÀÄä£ÀÄß MnÖUÉ §A¢ü¸ÀÄvÀz
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MAzÀÄ PÀÄlÄA§, MAzÀÄ gÁµÀÖç, MAzÀÄ ZÁ£À¯ï, MAzÀÄ ¸ÀA¸ÀÌöÈw. DzÀÝjAzÀ K£ÀÆ E®è, DzÀgÉ K£ÁUÀ°zÉ JA§ÄzÀPÉÌ
AiÀiÁªÀÅzÀÆ £ÀªÀÄä£ÀÄß ¹zÀÞ¥Àr¸À°®è.

1991gÀ°è rr UÀ¯ïá AiÀÄÄzÀÞªÀ£ÀÄß ¥Àæ¸ÁgÀ ªÀiÁrzÀgÀÄ, ¹J£ïJ£ï£À ¦Ãlgï D£Éðmï ¨ÁUÁÝzï¤AzÀ £ÉÃgÀ ¥Àæ¸ÁgÀ
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JµÀÖgÀªÀÄnÖUÉ JAzÀgÉ, 1998 gÀ°è, £ÁªÀÅ ±ÁeÁðzÀ°è ¸Àa£ï gÀªÉÄñï vÉAqÀÆ®Ìgï CªÀgÀ PÀȥɬÄAzÀ «©ü£ÀߪÁzÀ qɸÀmïð
¸ÁÖªÀiïð C£ÀÄß «ÃQë¹zÉÝêÉ.

1991gÀ DyðPÀ ¸ÀÄzsÁgÀuÉUÀ¼ÀÄ ªÀÄvÀÄÛ ¸ÀAªÀºÀ£À vÀAvÀæeÁÕ£ÀzÀ GzÁjÃPÀgÀtzÀ ¥ÀæªÉñÀªÀÅ «zÉò ªÀiÁzsÀåªÀÄ
PÀA¥À¤UÀ½UÉ zÉñÀPÉÌ ¥ÀæªÉò¸À®Ä ªÀÄvÀÄÛ ¨sÁgÀwÃAiÀÄ PÀA¥À¤UÀ¼À zÀÆgÀzÀ±Àð£ÀPÉÌ ¥ÀæªÉò¸À®Ä CªÀPÁ±À ªÀiÁrPÉÆnÖvÀÄ. ªÀÄvÀÄÛ
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zÀÆgÀzÀ±Àð£ÀªÀ£ÀÄß 1959 gÀ°è ¨sÁgÀvÀzÀ°è ¥ÀjZÀ¬Ä¸À¯Á¬ÄvÀÄ DzÀgÉ £ÁªÀÅ 30 ªÀµÀðUÀ½AzÀ MAzÉà MAzÀÄ gÁ¶ÖçÃAiÀÄ
ZÁ£À¯ï C£ÀÄß ºÉÆA¢zÉÝêÉ. CzÀÄ «gÀ¼ÀªÁV fêÀ£ÀzÀ°è ¹r¬ÄvÀÄ. E¥ÀàvÉöÛ ÊzÀÄ ªÀµÀðUÀ¼À £ÀAvÀgÀ, £ÁªÀÅ 24×7 n«AiÀÄ£ÀÄß
ªÀiÁvÀæ ºÉÆA¢zÉÝêÉ. KPMG ¥ÀæPÁgÀ, £ÁªÀÅ 1992gÀ°è 1.2 «Ä°AiÀÄ£ï n« ªÀÄ£ÉUÀ½AzÀ ªÀÄvÀÄÛ 1996 gÀ°è 14.2 «Ä°AiÀÄ£ï
168 «Ä°AiÀÄ£ï ªÀÄvÀÄÛ 2014 gÀ°è 149 «Ä°AiÀÄ£ï ¹&J¸ï ªÀÄ£ÉUÀ½UÉ ºÉÆÃVzÉÝêÉ.

FUÀ 800 PÀÆÌ ºÉZÀÄÑ ¥ÀgÀªÁ£ÀV ¥ÀqÉzÀ ZÁ£É¯ïUÀ½ªÉ - 1991 gÀ°è MAzÀÄ EvÀÄÛ - ¥ÀæwAiÉÆAzÀÄ ¥ÀæPÁgÀzÀ
¥ÉÆæÃUÁæ«ÄAUï ªÀÄvÀÄÛ PÉ®ªÀÅ £ÀªÀÄUÉ w½¢gÀ°®è: ªÀÄ£ÀgÀAd£É, ¸ÀAVÃvÀ, QæÃqÉ, ¸ÀÄ¢Ý, fêÀ£À±ÉÊ°, DzsÁåwäPÀvÉ, D¹Û, EvÁå¢.
ªÉÆzÀ® 24×7 ¸ÀÄ¢Ý ZÁ£À¯ï 1998 gÀ°è ¥ÁægÀA¨sÀªÁ¬ÄvÀÄ; 2014 gÀ ºÉÆwÛUÉ 400 ªÀÄvÀÄÛ 15PÀÆÌ ºÉZÀÄÑ ¨sÁµÉUÀ¼À°è JtÂPÉ.
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ºÉÆA¢¸À¯ÁVzÉAiÉÄÃ? UÀr¥ÁgÀÄ. ªÀiÁAiÀĪÁ¬ÄvÀÄ. FUÀ EzÀÄ LCD, PÉç¯ï ªÀÄvÀÄÛ DTH HD mÉ°PÁ¸ïÖUÀ¼ÉÆA¢UÉ

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CzÀPÉÌ vÀPÀÌAvÉ PÀAmÉAmï C¼ÀªÀr¹PÉÆArzÉ. EzÀÄ vÉÆA§vÀg Û À zÀ±ÀPÀzÀ DgÀA¨sÀzÀ°è ªÀÄvÀÄÛ ªÀÄzsÀåzÀ°è
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CzÉà ¸ÀªÀÄAiÀÄzÀ°è Zee, DD2, Sony, MTV AiÀÄ ¸ÀézÉò »AVèµï £ÀgÉÃAzÀæ ªÉÆâAiÀĪÀgÀÄ AiÉÆÃa¸ÀĪÀÅzÀQÌAvÀ
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§PÁæ, PÁå¥ÀÖ£ï ªÉÇåêÀiï).

90gÀ zÀ±ÀPÀzÀ CAvÀåzÀ ªÉüÉUÉ ¨sÁgÀvÀzÀ ºÀÈzÀAiÀĨsÁUÀPÉÌ vÀéjvÀ G¥ÀUÀæºÀ ªÀÄvÀÄÛ PÉç¯ï £ÀÄUÀÄΫPÉ, n« PÁ®à¤PÀ
PÀxÉUÀ¼ÀÄ vÁgÁ, ºÀ¸Àæn£ï (1994) CxÀªÁ ¸Á£ïì (1998) £ÀAvÀºÀ zsÉÊAiÀÄð±Á° £ÀUÀgÀ £ÁlPÀUÀ½AzÀ zÀÆgÀ ¸Àj¬ÄvÀÄ, C°è
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ªÀÄ»¼ÉAiÀÄjUÉ ¨ÉÃPÁVgÀĪÀÅzÀÄ PÀÄlÄA§ªÁVvÀÄÛ. gÁvÉÆæÃgÁwæ, PÀÄåAQ, PÀºÁ¤, PÀ¸ËnAiÀÄ£ÀÄß C£ÀÄPÀj¸À®Ä ¸ÀàzsÉðAiÀÄÄ
ZÁ£É¯ïUÀ¼À£ÀÄß ZÁ®£É ªÀiÁrzÀÝjAzÀ ¸Á¸ï-¨ÁºÀÄUÀ¼ÀÄ J¯Éq è É PÁt¹PÉÆAqÀªÀÅ EzÀjAzÁV «ÃPÀu ë ÉAiÀÄ DAiÉÄÌUÀ¼ÀÄ
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vÀļÀ¹ ªÀÄvÀÄÛ ¥ÁªÀðw ¨sÁgÀwÃAiÀÄ ªÀiË®åUÀ¼À£ÀÄß ¸ÀAPÉÃw¸ÀÄvÁÛgÉ ªÀÄvÀÄÛ «ÃPÀPë ÀgÀ ¥ÀnÖAiÀÄ°è CUÀæ¸ÁÜ£ÀPÉÌ awæÃPÀj¹zÀgÀÄ.
vÀļÀ¹, ¥ÁªÀðw ªÀÄvÀÄÛ ¥ÉæÃgÀuÁ CªÀgÀ£ÀÄß C©üµÉÃQ¹ ¨sÁgÀwÃAiÀÄ ªÀiË®åUÀ¼À£ÀÄß CAVÃPÀj¹zÀ 1990gÀ zÀ±ÀPÀzÀ GzÁjÃPÀgÀt
ªÀÄvÀÄÛ «ªÉÆÃZÀ£ÉAiÀÄ zÀ±ÀPÀ (ªÀÄvÀÄÛ CªÀ£Àw) «gÀÄzÀÞ ¸ÁA¸ÀÌöÈwPÀ »£ÀßqÉAiÀiÁVzÉAiÉÄÃ? ¥ÁæAiÀıÀB. ¨Á¯Áf mÉ°¦ü¯ïä÷ì£À
»AzÀÆ ¥ÀæeÉÕAiÀÄ ¨É¼ÀªÀtÂUÉ, 1990gÀ zÀ±ÀPÀ ªÀÄvÀÄÛ ªÁd¥ÉÃ¬Ä ªÀµÀðUÀ¼À°è ©eɦAiÀÄ GzÀAiÀÄPÉÌ ºÉÆA¢PÉAiÀiÁ¬ÄvÀÄ
JA§ÄzÀ£ÀÄß £É£À¦¹PÉƼÀÄîªÀÅzÀÄ AiÉÆÃUÀåªÁVzÉ.

¸ÀªÀiÁ£ÀªÁV DªÀiï D¢ä n«UÉ ¥ÀæªÉñÀªÀ£ÀÄß ¥ÀqÉzÀÄPÉÆArvÀÄ ªÀÄvÀÄÛ ©eɦAiÀÄ EArAiÀiÁ ±ÉʤAUï ºÉƼÀ¥ÀÄ
PÀ¼ÉzÀÄPÉÆArvÀÄ. zsÁgÁªÁ»UÀ¼ÀÄ ¨Á°PÁ ªÀzsÀÄ (2008) £ÀAvÀºÀ ¸ÁªÀiÁfPÀ ªÀÄvÀÄÛ UÁæ«ÄÃt £ÁlPÀUÀ½UÉ zÁj
ªÀiÁrPÉÆlÖªÀÅ. EAzÀÄ, d£À¸ÀASÁå ¯Á¨sÁA±ÀªÀÅ AiÀÄĪÀ ¦Ã½UÉAiÀÄ PÀqÉUÉ n« ¦üPÀ£ ë ï C£ÀÄß ¥ÉæÃgÉæ¹zÉ DzÀgÉ
¥ÀjªÁgÀzÉÆA¢UÉ vÀÄA¨Á CRAqÀªÁVzÉ.

n« ¨sÁgÀvÀzÀ ¸ÀA¸ÀÌöÈwAiÀÄ£ÀÄß ¸ÀAgÀQë¹zÀgÉ EzÀÄ DyðPÀ ¨É¼ÀªÀtÂUÉAiÀÄ AiÀÄÄUÀzÀ°è ºÉZÀÄÑwÛgÀĪÀ AiÀÄĪÀ ¨sÁgÀvÀzÀ
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CªÀgÀÄ ¥É¦ìAiÀÄ AiÉÄà ¢¯ï ªÀiÁAUÉ ªÉÆÃgï C£ÀÄß ¥ÀæwzsÀ餹zÁUÀ ®PÁëAvÀgÀ! (1998) jAiÀiÁ°n/mÁå¯ÉAmï ºÀAmï
n«AiÀÄ ¥ÀæwQæAiÉÄAiÀiÁVvÀÄÛ. EzÀÄ jhÄà CªÀgÀ ¸Á gÉ UÁ ªÀiÁ ¥Á ªÀÄvÀÄÛ ¸ÉÆäAiÀÄ §ÆVà ªÀÇVAiÉÆA¢UÉ
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ªÀÄvÀÄÛ £ÀÈvÀå ¸ÀàzsÉðUÀ¼À£ÀÄß ºÉÆA¢zÉÝÃªÉ ªÀÄvÀÄÛ ¸ÀºÀdªÁV ©Uï ¨Á¸ï C£ÀÄß ºÉÆA¢zÉÝêÉ.

1991-92gÀ ºÀ¹gÀÄ aUÀÄgÀÄUÀ¼ÀÄ J®èQÌAvÀ zÉÆqÀØ n« PÁæAwAiÀiÁVzÉ - ¸ÀÄ¢Ý n«. ¥ÀætAiÀiï gÁAiÀiï CªÀgÀ
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zÀQëtzÀ°è KµÁå£Émï, ¸À£ï, F£ÁqÀÄ ªÀÄÄAvÁzÀªÀÅUÀ¼ÀÄ 1998 gÀ°è 24×7 ¸ÀÄ¢Ý ªÁ»¤AiÀiÁV ¸ÁÖgï £ÀÆå¸ï
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 9

Unit 3
Evolution of Television in India – DD and Private Channels, DTH – Types of TV Programmes,
Recent trends in Television Broadcasting.

Perhaps, the most tangible way in which India felt the change was through television. Yet, the more the
industry has grown, the more it has splintered us

Television was introduced into India in 1959 but we had only one national channel for over 30 years,
which sporadically burst into life. Twenty-five years later, we only have 24×7 TV (Illustration: Subrata
Dhar)
Once upon a time, in the 1970s, we used to sit and stare. Out of the window, at the ceiling, into a book.
Alternatively, we’d stare at the transistor radio listening to BBC’s Test Match Special, Binaca Geetmala
or Forces’ Request.
By the early ’80s, we’d begun to stare at the TV set and Doordarshan (DD), which in those days were
one and the same thing. Government-run DD could produce a Krishi Darshan, but entertainment? Nah.
So the TV set was respectfully draped in a table cloth and admired as an object d’art.
Mid-1980s, DD’s sponsored programme brought television to life for the first time: we laughed (Yeh
Jo Hai Zindagi), we cried (Buniyaad), we even worshipped the box (Ramayan and Mahabharat).
This was the golden age of Indian television and it bound us together every evening: one family, one
nation, one channel, one culture.
So nothing, but nothing had prepared us for what was about to happen.
In 1991, DD broadcast the Gulf War, CNN’s Peter Arnett went live from Baghdad and within a year,
our TV screen, like the Iraqi capital, exploded into action. So much so, that in 1998, we watched a very
different “Desert Storm”, in Sharjah, courtesy one Sachin Ramesh Tendulkar.
The economic reforms of 1991, and the liberalised access to communication technology, allowed
foreign media companies entry into the country and Indian companies’ entry into television. And, as if
by magic, our lives were transformed, utterly as the space invasion colonised our homes.
Consider this: television was introduced into India in 1959, but we had only one national channel for
over 30 years, which sporadically burst into life. Twenty-five years later, weonly have 24×7 TV. We’ve
gone from 1.2 million TV homes in 1992 and 14.2 million in 1996 to 168 million and 149 million C&S
homes in 2014, according to KPMG.
There are now over 800 licensed channels — there was one in 1991 — with every genre of programming
and some we didn’t know: entertainment, music, sports, news, lifestyle, spirituality, property, etc. The
first 24×7 news channel began in 1998; by 2014 there were 400 and counting in more than 15 languages.
And that TV set in a wooden cabinet with beetle antenna for grainy black-and-white pictures from
terrestrial towers? Banished. Vanished. Now it’s LCD, satellite transmissions with cable and DTH HD
telecasts, online, mobile, laptops and tablets. We’ve left Nukkad’s cronies’ corner for Netflix’s House
of Cards, pay per view, streaming, etc.
Content has adapted, accordingly. When it began in the early and mid nineties, TV was a liberated,
cosmopolitan space. It targeted the urban, English-Indian with American and British serials: sexy
Baywatch, steamy Dallas with paramours and the paranormal (X-Files).
Simultaneously, the homegrown Hinglish of Zee, DD2, Sony, MTV pursued “Make in India” much
before Narendra Modi thought of it, producing local derivative shows in every genre: sitcoms, soaps,
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 10

quizzes, thrillers, horror, reality, countdowns, satire and sci-fi (Hum Paanch, Banegi Apni Baat, Sa Re
Ga Ma Pa, Philips Top Ten, Byomkesh Bakshi, Aahat, MTV Bakra, Captain Vyom).
Rapid satellite and cable penetration into the heart of India by the late ’90s, saw TV fiction move away
from daring urban dramas like Tara, Hasratein (1994) or Saans (1998) where women wanted more than
a family, to the K serials (2000 onwards) of the joint Hindu parivar where all that women wanted was
the family. Overnight, saas-bahus appeared everywhere as competition drove channels to imitate
Kyunki, Kahani, Kasautii, thereby reducing viewing choices.
Tulsi and Parvati symbolised “Indian values” and shot to the top of the viewership charts. Was it a
cultural backlash against the decade (and decadence?) of the 1990s’ liberalisation and liberation, which
anointed Tulsi, Parvati and Prerna and canonised “Indian values”? Possibly. It’s worth recalling that
the Balaji Telefilms’ K formula matched the growth of a Hindu consciousness, the rise of
the BJP through the 1990s and the Vajpayee years.
Equally, as the aam aadmi gained access to TV and the BJP’s “India Shining” lost lustre, the K serials
made way for social and rural dramas like Balika Vadhu (2008). Today, the demographic dividend has
driven TV fiction towards a younger generation but with the parivar very much intact.
If TV preserved India’s culture, it also reflected the aspirations of an increasingly young India in the
era of economic growth. Captain Vikram Batra spoke for millions when he echoed Pepsi’s Yeh Dil
Maange More! (1998). The reality/ talent hunt was TV’s response. It may have begun with Zee’s Sa Re
Ga Ma Pa and Sony’s Boogie Woogie, but it was personified in Kaun Banega Crorepati (2000). We
now have numerous song and dance competitions and, of course, Bigg Boss.
The green shoots of 1991-92 have grown into what is arguably the biggest TV revolution of them all
— news TV. Prannoy Roy’s The World This Week (DD National) and The News Tonight (DD2) and
SP Singh’s Aaj Tak, ignored the government press release style of DD’s news bulletins and gave us the
news instead.
In the south, Asianet, Sun, Eenadu etc., had news and current affairs before Star News was born in 1998
as a 24×7 news channel, (Aaj Tak became one in 2000). And with it were born news stars led
undoubtedly by Barkha Dutt and the likes of Rajat Sharma and Rajdeep Sardesai, who swapped print
for the picture tube.
Today, it’s all the rage with a new channel launching almost daily, worryingly by those who have money
to spare: chit fund owners, builders, political parties and, of course, industry (Reliance owns CNN News
18). It’s a conflict zone with loud, chaotic battles over irreconcilable differences of ideology, caste,
creed and religion — Arnab Goswami take a bow.
However, the spread of news TV across the country has given voice to a thousand opinions in every
language and in every region, making it, perhaps, a truly democratic arena where everyone and
everything can be challenged or put on media trial.
The open skies of television have been especially empowering for women. TV favours, feeds and
follows female likes and dislikes — hence, the dominance of TV soaps. To illiterate, uneducated women
in a feudal society, it has offered an entry into an unknown and often forbidden territory. They watch
news. They watch IPL as well as TV soaps.
Has this access helped women negotiate their lives? Not really. Every day, TV news reports a rape. TV
fiction has kept women firmly at home, bound by the feudal order. Transgress it at your own risk. So a
wonderfully frank account about a married woman’s desires outside marriage (Aadhe Adhoore on
Zindagi) did not find an audience.
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Twenty-five years’ space odyssey has been a curious phenomenon: it has united the entire world into
one global audience but the more technology has changed, and spread, the more it has splintered us:
today, no two people necessarily watch the same content in the same room.
That one nation theory of the ’80s is a million mutinies now. Only when India plays cricket are we,
perhaps, united before the TV screen as we were in the Mahabharat days: the 2011 World Cup final
was watched by over 130 million viewers. In fact, sports on TV is, perhaps, the most significantunifier.
In 1993, when this journey started out, we were in shock and awe of the wide, wide world of television.
Now, it’s just another electronic toy.

Types of TV Programmes
Television has evolved dramatically from the days when three broadcast networks comprised the
entirety of TV. Thanks to multiple broadcast networks, many dozens of cable networks, and TV
streaming platforms, there are more television genres available to viewers than ever before.

What Is a TV Genre?

In television, a genre is a style that has its own idiomatic types of storytelling, characterizations,
dialogue, humor, and visual flair. Some TV series and shows conform rigidly to certain TV genres.
Other shows bounce between genres and subgenres. There is no definitive list of every genre that
has ever existed on television. However, certain genres recur with great frequency and have
solidified popularity over decades.

15 Popular Television Genres

Nonfiction television ranges from evening news to documentaries. Here are some of the most
popular nonfiction genres on television.

1. News programming: News programming includes local evening news, daytime national
broadcasts on cable networks, and week-in-review programming that often airs on Fridays
or weekends. Some networks run news broadcasts dedicated solely to sports.
2. Talk shows: Talk shows or chat shows are television programs based on back-and-forth
discussions between hosts. Daytime talk shows and weekday morning chat shows reach
large audiences, but the most famous talk shows air late at night. Most talk shows cover pop
culture, current events, and politics.
3. Game shows: On game shows, teams of contestants or participants called from the audience
attempt to complete puzzles or answer trivia questions, with prizes awarded if they win.
4. Variety shows: Variety shows highlight the talents of their guests. Variety shows include
musical acts, dancing, stand-up comedy routines, and sketch comedy. Variety shows evolved
from Victorian era stage shows and had their peak on television in the United States in the
mid-twentieth century, though some still continue to this day.
5. Sketch comedy: Sketch comedy showcases a variety of multi-person comedic sketches.
Comedic styles on these shows range from goofy slapstick to satirical black comedy.
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6. Sports: Sports programming earns some of the highest ratings in all of television. Unlike
many other formats, sports are often broadcast live, bringing a sense of immediacy and
urgency to the viewing experience.
7. Sitcoms: Short for "situational comedy," sitcoms tend to deal with families, coworkers, or
groups of friends. Some are shot on static sets with multiple cameras in fixed positions; these
are called multi-camera sitcoms. Other sitcoms are shot more like feature films; these are
called single-camera sitcoms. Some sitcoms are animated.
8. Romantic comedies: Closely related to sitcoms, romantic comedies draw their humor from
the absurdities of love. Rom-coms enjoy dedicated audiences, although they often lack the
sheer market share of sitcoms.
9. Teen dramas: Teen dramas are geared toward teenagers and twenty-somethings. They tend
to emphasize heightened situations to the point of bordering on melodrama.
10. Docudramas: A docudrama is a fictional show based on a true story. Sometimes docudramas
involve true crime, and sometimes they cover more inspiring subjects.
11. Police procedurals: Police procedurals follow a highly formulaic plot structure. Episodes
begin with a crime (whether a crime of passion or a hit by a serial killer) and then cycle
through an investigation, an arrest, and some form of judicial justice. Some police thrillers
double as courtroom dramas.
12. Sci-fi and fantasy: Science fiction and fantasy shows are popular on cable and streaming
platforms. The fantasy genre and sci-fi genre can range from pseudo-historical epics to sci-
fi dystopian noirs and can include everything from time travel to sword battles to paranormal
alien encounters.
13. Anime: Anime is a Japanese genre that spans comic books, video games, and film media, as
well as TV. Some anime manifests as Saturday morning cartoons aimed at children. Other
anime centers on edgy subjects that are geared toward teens and adults.
14. Soap operas: Soap operas tend to feature improbable plotlines and melodrama; the name
comes from the detergent companies that used to sponsor daytime dramas aimed at
housewives in the mid-twentieth century. Some soap operas are medical dramas, while
others deal mostly with romance. Primetime soaps enjoy enormous popularity.
15. Reality TV: Reality television tends to emphasize ordinary people rather than big stars.
Some reality shows are competitions, while others claim to show slices of real life. Many
reality TV shows merge the two, introducing a competitive element to real-life activities like
dating or home renovation.

Recent trends in Television Broadcasting.

The Indian Media and Entertainment (M&E) industry is a sunrise sector for the economy and is
making significant strides. Proving its resilience to the world, Indian M&E industry is on the cusp of a
strong phase of growth, backed by rising consumer demand and improving advertising revenue.
According to a FICCI-EY report, the advertising to GDP ratio is expected to reach 0.4% by 2025 from
0.38% in 2019.

Market Dynamics

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According to the FICCI-EY report 2021, the media and entertainment business is estimated to grow
25% to reach INR 1.73 trillion (US$ 23.29 billion) in 2021.
According to an EY report, the Indian media and entertainment (M&E) sector stood at Rs. 1.38 trillion
(~US$ 19 billion) in 2020 and is estimated at Rs. 1.73 trillion (~US$ 23.7 billion) in 2021. Further, it
is projected to grow to Rs. 2.23 trillion (~US$ 30.6 billion) by 2023 due to acceleration of digital
adoption among users across geographies.
Television would account for 40% of the Indian media market in 2024, followed by print media (13%),
digital advertising (12%), cinema (9%), and the OTT and gaming industries (8%).
The market is projected to increase at a CAGR of 17% between 2020 and 2023.
In FY20, digital and online added revenue stood at Rs. 26 billion in the M&E sector and their
contribution to the sector increased to 23% in 2020 from 16% in 2019.
Within the M&E sector, Animation, Visual Effects, Gaming and Comic (AVGC) sector is growing at a
rate of ~29%, while the audiovisual sector and services is rising at the rate ~25%; is recognised as of
one of the champion sectors by the Government of India.
Advertising revenue in India is projected to reach Rs. 915 billion (US$ 12.98 billion) in 2023, from Rs.
596 billion (US$ 8.46 billion) in 2020.
India’s subscription revenue is projected to reach Rs. 940 billion (US$ 13.34 billion) in 2023, from Rs.
631 billion (US$ 8.95 billion) in 2020.
According to 'India: Online Video Trends and Omdia Consumer Research Highlights' report published
by Omdia (published in 2021), the Indian SVOD market, with OTT video subscriptions, reached ~62
million in 2020 from ~32 million in 2019. According to EY-Parthenon, India’s publishing industry is
likely to reach Rs. 80,000 crore (US$ 10.74 billion) by 2024.
Key growth drivers included rising demand for content among users and affordable subscription
packages.
The Indian gaming industry stood at US$ 930 million in 2020 and is expected to reach US$ 3.8 billion
by 2024. The online gaming market in India is projected to reach Rs. 155 billion (US$ 2.12 billion) by
2023, from Rs. 76 billion (US$ 1.08 billion) in 2020, due to rapid increase in consumption.
The music industry is expected to reach Rs. 23 billion (US$ 330 million) by 2023, from Rs. 15 billion
(US$ 210 million) in 2020 at a CAGR of 15% between 2020 and 2023. According to a study conducted
by Kantar and VTION, an audience measurement and analytics company, Gaana, the streaming service
owned by Times Internet Ltd., had 30% market share, followed by JioSaavn (24%), Wynk Music (15%),
Spotify (15%), Google Play Music (10%), and others (6%) in 2020.
Growth of the sector is attributable to the trend of platform such as YouTube that continues to offer
recent and video content-linked music for free, which is expected to drive the paid OTT music sector
reaching ~5 million end-users by 2023, generating revenue of ~Rs. 2 billion (US$ 27 million).
By 2025, the number of connected smart televisions are expected to reach ~40-50 million. 30% of the
content viewed on these screens will be gaming, social media, short video and content items produced
exclusively for this audience by television, print and radio brands.
According to the FICCI-EY media and entertainment industry survey, those who watch online videos
through bundled packages (online video services bundled with mobile and broadband connections) will
account for half of all online video viewers (399 million) by 2023, up from 284 million in 2020.

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As of 2020, India registered ~803 million online video viewers, including streaming services and videos
on free platforms such as YouTube. Mobile video viewers stood at 356 million in 2020, driven by rising
number of users preferring video content over the last few years.
OTT video services market (video-on-demand and live) in India is likely to post a CAGR of 29.52% to
reach US$ 5.12 billion by FY26, driven by rapid developments in online platforms and increased
demand for quality content among users.

Recent development/Investments
FDI inflows in the information and broadcasting sector (including print media) stood at US$ 9.5 billion
between April 2000 and March 2021.

• Mr. Sachin Tendulkar, a former Indian cricketer, has invested $2 million in JetSynthesys, a
digital entertainment technology start-up.
• Gumlet, a SaaS firm that automates the media publishing pipeline with new-age media delivery
infrastructure, has received a US$ 1.6 million investment from Sequoia Capital India's Surge.
• In July 2021, WinZO, a leading gaming and entertainment platform, secured US$ 6 million in
a Series C investment round that was headed by Griffin Gaming Partners of California, bringing
the company's total capital raised to US$ 90 million.
• In July 2021, the Maharashtra Film, Stage and Cultural Development Corporation (MFSCDC),
also known as the Dadasaheb Phalke Chitranagari or Film City in Mumbai's Goregaon, issued
an invitation for expressions of interest (EoI) to develop infrastructure on its premises.
• In June 2021, Netflix announced its plan to open its first live-action, post-production facility in
Mumbai. The facility—with 40 offline editing rooms that will be used by showrunners,
directors, editors and sound designers—will become fully operational by June 2022.
• In June 2021, Fujifilm India and Insight Print Communications (Insight Group) joined forces
to innovate and expand top-of-the-class solutions for the graphic arts portfolio.
• In May 2021, Kwalee, a UK-based game developer, announced to invest funds worth US$ 30
million, over the next five years, in its operations to expand in the Indian market.
• In May 2021, Mediabrands launched Mediabrands Content Studio (MBCS) in India. The
company integrated its content division with MBCS India to cater to clients more efficiently.
• In May 2021, MBCS signed a production partnership with VICE Media, to strengthen its
capabilities and position in India.
• In May 2021, Amazon India launched miniTV, a new video streaming service for its users to
further strengthen its position in the country.
• In May 2021, HOTOTT Entertainment announced its plan to launch ‘HOTOTT’, a streaming
service app, by mid-June 2021 to expand in the country.
• In April 2021, Zee Entertainment signed a deal with Tokyo Broadcasting System Television
(TBS) in Japan to produce diverse content for India and Japan and the global market.
• In April 2021, InMobi Exchange launched in-game ads to target premium mobile users with
advertisements such as electronic advertisement boards, in-game sports stadium, e-sports arena,
hyper-casual gaming room, etc.
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Government Initiatives
The Telecom Regulatory Authority of India (TRAI) is set to approach the Ministry of Information and
Broadcasting, Government of India, with a request to Fastrack the recommendations on broadcasting,
in an attempt to boost reforms in the broadcasting sector. The Government of India has agreed to set up
National Centre of Excellence for Animation, Gaming, Visual Effects and Comics industry in Mumbai.
The Indian and Canadian Government have signed an audio-visual co-production deal to enable
producers from both the countries exchange and explore their culture and creativity, respectively.
In June 2021, the Union Ministry of Information and Broadcasting notified the Cable Television
Network (Amendment) Rules, 2021, which aims to establish a three-layer statutory mechanism for
citizens to raise grievances with respect to broadcasted content.
As part of the expansion to include all digital platforms and digital (OTT) players under a single roof,
in May 2021, the Indian Broadcasting Foundation (IBF) announced the move to be renamed as the
Indian Broadcasting and Digital Foundation (IBDF).
As per the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules,
2021, IBDF would also form a self-regulatory body (SRB) soon.
On February 25, 2021, the government outlined the Information Technology (Intermediary Guidelines
and Digital Media Ethics Code) Rules 2021 to establish a progressive institutional mechanism and a
three-tier grievance redressal framework for news publishers and OTT platforms on the digital media.
In February 2021, the digital entertainment committee of the Internet and Mobile Association of India
(IAMAI) finalised a code of conduct to form the basis for self-regulation code for OTT content. The
code has been endorsed by 17 OTT platforms including Netflix, Amazon Prime Video, Disney+
Hotstar, ZEE5 and Voot.
In February 2021, Prasar Bharati (India) and PSM (the official State Media of Maldives) inked an
agreement to facilitate collaboration and capacity building in the field of broadcasting.
Digital audio–visual content including films and web shows on over-the-top (OTT) streaming
platforms, as well as news and current affairs on online platforms, have been brought under the Ministry
of Information and Broadcasting in November 2020.
**

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