REPORTOn

ROLE OF BPR IN ENTERTAINMENT &MEDIA INDUSTRY

Business Process Reengineering (MBCG 749)

Submitted to:

Dr. NEERAJ ANANDAssociate Professor - CMES

Submitted by   :

PRANAB KUNDU R600209073RAHUL UBANA R600209082ROOPALI BAJPAI R600209090SAAD AHMED R600209092SHIKHA ASWAL R600209101

UNIVERSITY OF PETROLEUM & ENERGY STUDIES

DEHRADUN

1

TABLE OF CONTENTS

S.No Topic Page No.

1 Introduction 3

2 Objective And scope of Study 5

3 Literature review 6

4 Research design 16

5 Conclusion 31

6 References 33

2

CHAPTER 1

INTRODUCTION

Business process management (BPM) is a management approach focused on aligning all aspects of an organization with the wants and needs of clients. It is a holistic management approach that promotes business effectiveness and efficiency while striving for innovation, flexibility, and integration with technology. Business process management attempts to improve processes continuously. It could therefore be described as a "process optimization process." It is argued that BPM enables organizations to be more efficient, more effective and more capable of change than a functionally focused, traditional hierarchical management approach

Although the initial focus of BPM was on the automation of business processes with the use of information technology, it has since been extended to integrate human-driven processes in which human interaction takes place in series or parallel with the use of technology. For example (in workflow systems), when individual steps in the business process require human intuition or judgment to be performed, these steps are assigned to appropriate members within the organization

Because BPM allows organizations to abstract business process from technology infrastructure, it goes far beyond automating business processes (software) or solving business problems (suite). BPM enables business to respond to changing consumer, market, and regulatory demands faster than competitors - creating competitive advantage.

Most recently, technology has allowed the coupling of BPM to other methodologies, such as Six Sigma. BPM tools now allow the user to:

Define - baseline the process or the process improvement Model - Simulate the change to the process.

Analyze - Compare the various simulations to determine an optimal improvement

Improve - Select and implement the improvement

Control - Deploy this implementation and by use of User defined dashboards monitor the improvement in real time and feed the performance information back into the simulation model in preparation for the next improvement iteration.

3

This brings with it the benefit of being able to simulate changes to your business process based on real life data (not assumed knowledge). Also, the coupling of BPM to industry methodologies allows users to continually streamline and optimize the process to ensure that it is tuned to its market need

The Indian entertainment and media industry has outperformed the Indian economy and is one of the fastest growing sectors in India. The E&M industry generally tends to grow faster when the economy is expanding. The Indian economy has been growing at a fast clip over the last few years, and the income levels too have been experiencing a high growth rate. Above that, a consumer spending is also on the rise, due to sustainable increase in disposable incomes, brought about by reduction in personal income tax over the last decade. All these have given an impetus to the E&M industry and are likely to contribute to the growth of this industry in the future. Besides these economic and personal income linked factors, there are a host of other factors that are contributing to this high growth rate. Some of this enumerated below:-

1. Low media penetration in lower socio- economic classes2. Low and spends3. Liberalizing foreign investment regime

The Indian entertainment and media industry today has everything going for it be it regulations that allow foreign investment, the impetus from the economy ,the digital lifestyle and spending habits of the consumers and the opportunities throw open by the advancements in technology. All it has to do is to cash in on the growth potential and the opportunities. The government, on its part, needs to pay a more active role in sorting out policy related impediments to growth. The industry needs to flight all road blocks such as piracy in a concerted manner, while churning out

4

high- quality, world class end products. The entertainment and media industry has all that it takes to be a star performer of the Indian economy.

CHAPTER 2

OBJECTIVE AND SCOPE

Objective

To study the role of BPR in Entertainment industry To study the effect of BPR in Entertainment industry To study the various changes taken place in media and entertainment To study the changes taken place in print media To get knowledge how event management program affecting the Entertainment & Media

ScopeCreativity is not only the prerequisite for innovation and, thus a core competitive factor in contemporary organizations. Creativity influences business processes and the way we conduct business process management. We have presented exemplary strategies and actions that organizations apply to deal with the phenomenon of creativity to enhance process performance and quality of creative products. We believe it is both relevant and timely to take a closer look the role that creativity plays within business process and how it can be managed. Existent modeling techniques, software tools and management practices may support some of the important aspects in this context. However, until now there is no comprehensive approach on how to manage creativity from a business process perspective. We would like to set the base line for a discussion on the notion of the creativity- intensive process.

5

CHAPTER 3

LITERATURE REVIEW

As the Indian economy is continuously growing, so it has provided an incremental growth to the other segment of the industry. In this context entertainment industry is one if them; Advancement of IT and its Implementation in entertainment industry had shown a tremendous growth in the sector, it had also increased the competition also among the different players. For the ease of study it is divided in different categories namely

1. Advertisement industry2. Cartoon industry3. 3D Animation4. Media industry5. Print Industry

Creative people and their processes play a prominent role in business processes asorganizations seek to deploy the merits of business process management to more than just theset of transactional processes. Product development and marketing campaigns are just twoexamples of such creativity-intensive processes that increasingly find their way into the agenda ofprocess managers. Besides this, there are entire and quickly growing industries designed around creative processes, with the entertainment industry being the most prominent example of a creative industry. Whether as a key process in the creative industries or as a complementaryprocess in non-creative industries, creativity-intensive processes have one element in common:they consist of pockets of creativity. A pocket of creativity is a subset of a business process inwhich the input of creative personality is required to solve a creative task. Even more, thesepockets of creativity are sections where the organization distinguishes itself from competitors,creates innovation, and gains competitive advantages.It is important to note that creative processes often are not necessarily processes that occur onlyonce, like the design phase of a new product. They actually might be executed quite frequently.Let’s consider a visual effects company producing hundreds of frames and animation sequencesper year. Every sequence may involve highly creative acts involving divergent thinking. Although a particular task (designing a skeleton, designing movements) may seem straightforward to the observer, it actually is a highly creative task and may massively impact the outcome of the overall business process. The notion of pockets of creativity helps to pinpoint those process parts that have high requirements regarding creativity management while the remaining parts of a process could be approached by “conventional” BPM wisdom.

6

we introduce the notion of creativity-intensive processes as a subtype of knowledge-intensive processes that are characterized by the involvement of creative people who produce creative products, often largely depending on divergent thinking. Creativity-intensive processes involve pockets of creativity that are crucial elements of business processes directly related to an organization’s success and innovativeness and can lead to particular problems the process owner is facing.

How Does Creativity Impact BPM?When managing creativity-intensive processes, it is necessary to distinguish two mainperspectives: task-level (or activity-level) analysis and process-level analysis. The task-levelperspective pertains to the questions of how pockets of creativity are characterized and how theycan be supported. In contrast, the process-level perspective takes a look at the overall businessprocess; as mentioned earlier, the existence of creative tasks within a business processsignificantly affects the process as a whole.

In the following we introduce some typical scenarios in which creativity impacts business processes and their management. This is then followed by a section where we describe exemplary actions and strategies that can be implemented to deal with challenges that arise from the existence of creative tasks within business processes.• Allocating resources (task-level, process level): Let us consider a process in the film industry comprised of both creative and non-creative tasks; e.g. the development of an animation sequence. The particular creative tasks are resource and time-intensive. Thus, the process owner has to decide what resources (budget, equipment, creative individuals) have to be allocated to what task. She has to deal with a quite complex situation: First, it is necessary to identify where the actual creative tasks are within the process and how they integrate into the process. Second,

7

the process owner needs a good understanding of how the task is characterized. Third, the process owner has to estimate the impact of the task on the overall process performance considering what can be referred to as the task’s creativeimpact. Based on this, she can decide how much time, budget, and freedom are granted to alter process and product.• Enhancing creativity (task-level): After having identified a particularly important task for the overall process (a task with particularly high creative impact), the process owner may want to enhance the quality of the creative product as the core output of that task. Having identified the characteristics of the task, strategies can be developed to support it in the best possible way. Typical questions: Should creative people meet face to face? Should we include a brainstorming session? Should we provide access to a knowledge base? All these questions depend on the characteristics of the creative tasks (who is involved, what type of creative task, etc.). Creativity could relate to the generation of a new idea, the evaluation of alternative proposals, or a selection process. A key difference with“‘conventional” knowledge-intensive tasks is that enhancing creativity means to foster, in particular, divergent thinking, which can lead to the generation of truly creative products but may also produce unwanted risks.• Managing creative risks (task-level, process-level): Creative tasks are inherently connected to high variance of possible outcomes, which is due to the fact that being creative means to be original and come up with novel ideas and solutions. This may lead to unwanted consequences, such as losing control of process (losing control of time and budget), low product quality (which may lead to customer dissatisfaction), and lack of external compliance (which can lead to a loss of reputation or even to lawsuits). This is again of particular relevance in the film industry when the customer is often unable tospecify the requirements and the visual effects studio, for example, has to provide a set of iterative solutions to get closer to the actual requirements. At the same time, the company has to keep control of time and budget and to comply with external requirements such as governmental policies and legal requirements (e. g., a scene must not be too sexually explicit for a particular target audience). The identification of creative tasks and their attributes within a process is the prerequisite to successfully implementing risk management strategies. Prominent examples of how to mitigate (creative) risks are appropriate review cycles. In this context a number of questions arise: Where within the process should be reviewed? Who should be involved within the review cycle? Where is formal approval needed? Should people meet physically to discuss the artefact? Can we distribute a digitized artefact for evaluation? Again, these decisions highly depend on the characteristics of the creative task as well as on the characteristics of the involved creative and non-creative persons. There is a particular challenge from the perspective of human performance analysis: What are the creative capabilities of particular persons? Where in the process can a person be involved to be able to actually evaluate the creative product? On a task level, the process owner can consider particular creativity techniques as well as knowledge

8

management support and the allocation of other resources such as time and budget to avoid creative risks beforehand (risk avoidance).• Enhancing process performance (process-level): As mentioned earlier, creativity intensive processes are characterized by a high demand for flexibility. That is, conventional process automation approaches such as workflow management or even more sophisticated approaches such as exception handling or evolutionary workflow solutions may not be appropriate. However, processes may be comprised of both wellstructured parts and pockets of creativity that may not have any obvious structure at all. Identifying and better understanding these pockets of creativity therefore allows for designing an IT solution that can provide a maximum level of automation where it is suitable. However, we strictly recommend not trying to conventionally “model” and automate the creative parts of the processes in the conservative sense, as typical methods do not cater to the specific requirements of creativity. What is needed is rather a resource-based, data-driven perspective that does not impose too many constraints onthe process. The aim has to be to “manage creativity without sacrificing creativity.” The examples show that there are numerous problems creativity-intensive processes create for process owners. We summarize different facets under the term creativity-oriented BPM. Figure 1 provides an overview about the key requirements of such processes.

Managing Creativity-intensive ProcessesFacilitating transparency by identifying pockets of creativity is only a first step on the way to managing creativity-intensive processes. The process owner has to be equipped with appropriate actions and strategies. As indicated earlier, the different strategies/actions apply on two different levels: task-level and process level. However, in reality, this distinction may not always be that clear-cut. Undoubtedly, there is a close relationship between the two areas. In the following, we provide an overview of some examples. As mentioned earlier, creative thinking, expertise, and motivation are the main factors that influence people’s creativity. Particularly the strategies and actions that we propose on task level aim to enhance creativity by targeting these properties of creative persons. At the same time, it is necessary to provide means to manage the overall process considering aspects such as process performance, cost, or risk.

Strategies/actions on task level:• Creativity techniques: Creativity techniques can be applied to enhance the creative potential of a task. What creativity techniques can be applied depends on the type and characteristics of a pocket of creativity. Examples for different types of pockets of creativity are generation (an artefact [e.g., a product] is designed), evaluation (creative evaluation of an artefact), and selection (selection of one or more artefacts out of a number of artefacts). Advanced BPM tools could potentially provide a set of pre-definedprocess patterns that capture alternative creativity techniques (e.g., the process of a brainstorming session).

9

• Knowledge management: Creative tasks are knowledge-intensive. There is a close relationship between a person’s knowledge and a person’s ability to be creative (Weisberg, 1999). For example, a creative director said to us, “Everything you draw on, everything I draw on in my creativity comes from somewhere. So it’s already been created somewhere.” Thus, for every pocket of creativity, you will want to consider what type of knowledge can be made available (e.g., technical guidelines on how to use a tool, previous experiences for a type of task, artefacts that have been created earlier and that can now be used as reference material). A particular challenge lies in fostering both convergent and divergent thinking by knowledge management in order to allow people to be truly creative.• Resource allocation: Pockets of creativity are crucial to an organization’s success. Therefore, the allocation of resources should be based on the analysis of the impact different pockets of creativity have on the overall process performance and on the quality of the creative output. Identifying task characteristics is the prerequisite for resource allocation including time and budget as well as the appropriate equipment and creative persons.• Allowing latitude / freedom: Allowing freedom for a particular task increases variance and decreases predictability. This leads to greater creative potential but also to greater risk. The process owner has to carefully decide what freedom she allows for each and every task to achieve high creativity and innovation while still everybody works towards one aim. As Amabile puts it, autonomy “around process fosters creativity because giving people freedom in how they approach their work heightens their intrinsic motivation and sense of ownership. Freedom about process also allows people to approach problems in ways that make the most of their expertise and their creative-thinking skills.” By defining pockets of creativity and setting up goals and constraints it can be ensured that creative persons are actually granted the freedom where it is needed while they do not have to “diverge at their own risk” (Amabile, 1998). Possible constraints are deadlines, clearly defined outputs (such as a certain number of alternative artefacts, etc.), review processes, and regular communication among creative persons and stakeholders.Obviously, there is a connection to the resource perspective as the allocation of resources such as time and budget plays a crucial role in allowing latitude and freedom.• Incentives / consequences: Motivation is one of the main factors that influences a person’s creativity (Amabile, 1998; Runco, 2007). We expect that incentives for creative people with their own sense of creativity and aesthetics are different from established incentives. For example, there is a close relationship between creative freedom and motivation. As we have stated earlier, creative people’s motivation may be fostered by means such as allowing them freedom or even putting them under time pressure. It is important to note that monetary incentives in most cases are not the sole source of motivation to enhance people’s creative power. Another important source to enhance intrinsic motivation is information sharing and collaboration. Here, process management can serve as a facilitator as the identification of pockets of creativity and their required knowledge helps to understand where knowledge is created, where it is stored and located, and how it is transferred and applied.

10

Strategies / actions on process level• Approval processes / reviewing processes: Approval processes are a means to ensure that the creative product meets the requirements. It can be distinguished between quality assurance (technical aspects) and creative reviews (Does the product meet the creative expectations?) Approval processes are quite a complex strategy, as the process owner has make different decisions, such as “When should the approval happen?” “Who should be invited/ involved?” “Do we have to meet physically?” This is strategy on the process level that requires identification of pockets of creativity and the particular (creative) risks due to a high variance of possible outcomes.• Flexible process automation: Depending on how pockets of creativity integrate into the overall business process, flexible workflow support can be implemented. Normally, creative tasks are associated with a great number of potential exceptions that may occur. Modeling every possible exception may lead to an over-engineered and hard to manage model. Consequently, approaches such as exception handling (Casati et al., 1999) or even case handling (v.d.Aalst et al., 2005) should be considered. Moreover, recent Web 2.0 technologies such as widgets and blogs can be integrated to build more flexible infrastructures supporting the particular requirements of creative teams in rapidly changing business environments.• Group communication systems / continuous communication: Communication is essential for creativity (Kristensson & Norlander, 2003). A thorough understanding of the pockets of creativity within a process and their interrelations in terms of information flow allows designing appropriate communication strategies (face-to-face meetings versus asynchronous media, etc.). Continuous communication ensures that the project team works towards one aim. Thus, this strategy aims to mitigate variance that may be caused by weak requirements specifications as well as creative freedom.

11

APPLICATION OF EVENT-DRIVEN BPM IN THE ENTERTAINMENT INDUSTRY

The difficulty in accurately detecting, predicting and handling complex situations is a decisive process in many domains like automotive, finance, logistics or entertainment. Being an aspiring technology, the Complex Event Processing (CEP) approach helps to gain situational insight from service or event oriented architectures while processing event flows in real-time. BusinessProcess Management (BPM) and CEP are currently deployed side by side by the adopters having the barrier of suitably designing and implementing BPM and CEP solutions on the basis of domain specific problems. Herein BPM provides the ability to model, manage and optimize a companies business processes whereas CEP resides as a parallel running platform providing the analyses and processing of events. Event-Driven Business Process Management (ED-BPM) enhances BPM with CEP-capabilities allowing a communication via events which are emitted by a wide variety of sources. This leads to an even more urgent need of interconnecting and enhancing BPM not only with CEP but moreover with Service Oriented Architecture (SOA), Event Driven Architecture (EDA), Software as a Service (SaaS) and Business Activity Monitoring (BAM).

12

Many entertainment companies today, e.g. Slicethepie Ltd. Or Gameforge AG have developed business models, “services” in the broader sense, which are tailored to a broad mass of users relying on the internet as a participation and collaboration platform. Due to testing, performance, cost and reliability causes, mostly heavyweight or flash-based client application are distributed to consumers which pre-process data on the client side before communicating the output to the company’s often internally hosted servers as shown in figure .

Simplified communication structure via the internet

Such an architecture is per se limited regarding changes and modifications on the business process and workflow side along with restricted capabilities in real-time data processing or fraud detection and prevention. Furthermore changes in a business process result most likely in a change of the source code of the application involving downtimes and very often the loss of work in flight from users who are currently connected to the system.

The Future Internet of Services, the paradigm to which the Internet is evolving, consisting of services which are produced, consumed and mashed up by a worldwide network of participants the entertainment domain with its strong affinity to the internet itself has to prepare its business models and business processes for a grave change. Because of being heavily dependent on massive user collaborations, fast and reliable content delivery and the processing of the consequential contribution data, the entertainment domain stands in the forefront of adapting ED-BPM to act and react proactively on occurring issues. Use-Case scenarios cover a wide field of activities including fraud detection/management, user characteristics analysis, service interoperability, third-party implementations and the aggregation and interpretation of complex interrelations between those activities to dynamically change and influence business processes.

13

Transcribing these goals in the entertainment domain reveals the need for a domain specific reference model by assembling and researching fundamental event patterns and substantial domain wide similarities. An exemplified architecture is shown in figure below, enhancing figure above by lightweight clients on heterogeneous consumer devices providing platform independency from the consumer point of view.

Architectural view on a possible ED-BPM via Internet of Services structure

On the service provider side the computing center is replaced with the resources directly attached by a cloud computing company to gain maximum flexibility in terms of performance, scalability, redundancy, reliability and cost. The legacy infrastructure supersedes the internal computing center in order to observe, aggregate and process the event streams generated by the consumers and other producers who provided services via the Internet of Services. Though having a widespread mix of protocol standards on the fragmented market it is not enough to simply transform and mediate the streamed information .Furthermore the event streams need to be processed, by a variety of software components like an Enterprise Service Bus (ESB) in addition to a CEP-Engine within an ED-BPM approach to achieve a business process and workflow environment which is dynamically shaped and triggered by the occurrence of complex events. A

14

use case scenario can be the implementation of this technology in the scouting and reviewing application from Slicethepie. The application is currently limited to rigid business processes and an inflexible database system which results in a heavyweight client system to monitor the reviews with forensic linguistic software and avoid the incidence of fraudulent scouts within the actual session. By adopting ED-BPM in this scenario the application for the reviewers will be trimmed towards a solely presentation and interaction interface for the services emitted and maintained by Slicethepie. The backbone of the system including the reusable linguistic fraud detection software will be hosted externally by a cloud computing provider whereas the business logic is maintained in-house. Standing in the center of the ingoing and outgoing event streams, allows the observation and correlation of both real-time and persistent stored data which can be used as event triggers for starting new business processes as well as for changing the flow of business processes that have already been launched according to situation suited procedures. Reviews that are shared between consumers via instant messaging systems to bypass the fraud detection system could be detected, weighed on a threshold scale and either get marked as suspicious or in immediate cases get passed on to a manual investigation.

Furthermore it is possible to enhance the system to act as a service provider for business partners in means of allowing other companies or interested parties, e.g. movie studios or media publishers, the usage of services, again automatically managed by the underlying infrastructure and business processes. This consecutively derives the need for a domain specific reference model for the entertainment sector in which domain wide similarities are identified and specifically tailored to suite the requirements. This model will then reside as part of the DoReMoPat approach delivering bundled standards, interconnection options and domain specific solutions to lay a solid foundation for the competitiveness and agility in the Future Internet of Services.

15

Media IndustryThe media industry had always played a vital role to connect with the common man, in the earlier days when Britishers had ruled India , the Indian press had taken the opportunity to aware all the Indians regarding the movements.As the time passes innovations taken place in every stage, first the newspapers were printed in black & white, but currently the newspapers were printed in color.As the market is growing there is having a huge potential, which had invited the other players to take part in the sectors. Now many newspapers in different languages had captured the market regionally. Some of them are “DanikBhaskar, Amar Ujala, Punjab Kesri, Nayi Duniya, and Navbharat Times” and English newspaper “Times of India, The Hindu, The Chronicle, Hindustaan Times. The Statesman, Indian Express”

Advancement in IT had greatly influenced the media sector, previously through photos only the replaced by Private news channel. Now news updating can be flashed in an hour if a happening is there. Some of the private news channel are “ Aaj Tak, NDTV, Times Now, Tez, Star news, zee News” and some of the local News channels.

16

CHAPTER 4

RESEARCH METHODOLOGY

ADVERTISEMENT INDUSTRY

In the world of marketing practice, there is no question that the information revolution hashad an impact on various marketing activities such as, channels of distribution, networking of global markets, product design std new product development, customer data management, home shopping, home banking, real time manufacturing and marketing, to name a few.

Although the field of advertising or, in general, the academic scholarship in marketing communications has not addressed the nature and impact of information technology, there is a lot that is happening in the diffusion of information technology across all sectors of the society that has relevance to the field of marketing communications and advertising.

Advertising encompasses the domain of mass communication, is involved in information transfer from producer to the consumer, and is a unidirectional system of communication from the sender to the receiver.

17

The convergence of many technologies is rapidly occurring. It is now possible as never before to linkcomputers, communications, telephone, and entertainment technologies. As a result of cross-over technologies. stew possibilities hove emerged.New information technologies have been introduced into the home successfully e.g. the answering machine and the fax - paving the way for similar introductions. New electronic services are also becoming available, video-on-demand, home shopping, home banking, and home financial manage. As a result of cross-ova technologies, we find that companies are leaving their traditional business areas seeking unfamiliar territories for exploration. Apple (computers) is stow getting into multimedia, AT&T (telecommunications) is gettinginto entertainment. Philips (entertainment and consumer electronics) is now moving into smart homes, CBS (Broadcasting) is trying to move into haute shopping and so on.

Information HighwayThe information highway is a powerful electronic network capable of delivering vast amounts of data and entertainment to businesses, households and other publics which in turn can be inter-connected. An ultimate global connection will link various national markets on a real-time basis. The highway is in the early stages of planning but some existing links will form the foundation for a full-fledged construction that might take anywhere from ten to fifteen years for completion. As part of the information highway, multimedia, interactivity, and virtual environments are the mechanisms for delivering image, test arid sound data in which the user interacts with the databases using a combination of the television, the telephone, and the personal computer.

18

The information high way consists of many facilities and systems; data compression and storage, savers, the conduit (e.g. fiber optics), the user interface (TV or PC), the act top box (multimedia converter), and communication systems for correspondence, voice mail and video images.Below are some brief descriptions of multimedia, virtual reality, and interactivity. These are not mutually exclusive and highly inter-dependent in tams of their structure and scope.

MultimediaMultimedia refers to electronic data processing technology that can combine several functions: text processing systems to format and prepare text documents: text retrieval systems to find a document from a set of documents; database management systems to store and retrieve a structured data; special systems to handle animations, images, video ands sound. Usually, the access to such technological functions involves a computer with telecommunication facilities (telephone, cable TV). In the absence of a computer a television td can be used as the main interface for accessing these various functions. From the technology side the construction of multimedia requires an infrastructure that is at its very elementary stages of development. This is the reason why the Information superhighway has been proposed.Multimedia resources ate very expensive to produce and require capital expenditures that only a few organizations can make. They also require the expertise of several disciplines. For example, in a smart home project now in progress in Copenhagen, Denmark, over a hundred companies are involved. They requite highly specialized tools. Systems that integrate various multimedia functions ate still under development. but the technology is moving very fast.

Virtual RealityVirtual reality is a set of computer technologies which, when combined, provide an interface to the computer with which the user can believe he or she is actually in a computer-generated world. This computer-generated world could be model of a real-world object such as s house not yet been built or currently existing, or it might be any abstract world or simulated real world. The computer interface provided by virtual reality is three-dimensional. The world or model to be viewed by the user is apparently real, completely surrounding the user, and responds appropriately to the uses natural motion and interactions. The user is led to believe that the model being viewed is real.Two key concepts of virtual reality are immersion and interaction. The user must feel immersed in the virtual environment, end must be able to interact with the world using hands, arms, head and legs. Without both immersion and interaction. the user will not readily believe that the world is real, and will not gain the same depth of understanding of the model or data. Virtual reality incorporates much human aspects engineering which maximizes its impact on human senses and perceptions. The technology was born from the merging of many disciplines including

19

psychology, cybernetics, computer graphics, data base design, real-time and distributed systems, electronics, robotics, multimedia, and telepresence.

InteractivityInteractivity refers to the active participatory role of the individual in computer-based virtual andmultimedia environments. The traditional electronic media, radio and television are non interactive media.

The first interactivity began with the introduction of VCRs and remote control switches for the TV. But they am interactive in a very limited sense for they do not change the environments in any significant way.Another early example of interactivity are the video games but games are not real environments although they are very interactive. Telephone is the only tax long-standing interactive technology but it is limited to voice-to-voice interface.Interactivity in current parlance means the real world participation of the individual by establishing simultaneous a sequential communication with the source of communication In the context of multimedia.The word source of communication is somewhat meaningless because the initiator could he at either end of the communication chain.According to various industry sources and academic researchers the following areas have been identified a having an impact because of the new technologies and electronic media: Teleworking/telecommuting, Home Entertainment. Education. Teleshopping/Home shopping (Grant 1991). Telecommunications, Home Computing/Home Management. In no sense are Own areas to be considered mutually exclusive or exhaustive. Here is a brief description of how these areas ere developing and will continue to develop.

Teleworking: This refers to work at home. Our own research (1990, 1992) shows that this a growing activity largely aided by computers at home. In our research. we identified five different types of teleworking, telecommuters who substitute working at home for commuting to work, moonlighters who work on different jobs from their primary employment during weekends a evenings, supplemental workers who work at home in addition to full time work, self-employed people who use the home as their business, and part-timers who work a horns for outside organizations on contract work.

Home Entertainment: Includes two principle services, movies-on-demand std video games. Many industry experts believe that this will be the most commercially successful market among interactive services. The mason for this Is that home entertainment via TV and VCR is already well established and also because of the low level effort involved by the user.

20

Teleshopping: Teleshopping promises consumers the ability to purchase goods and services through the TV set. This is still in a development stage although some companies ere quite successful in the home shopping business. Home Shopping Network and QVC. There also have been some failures, as evidenced by the closing down of 1.C. Penney's interactive shopping system and Sears Roebuck's joint veriture with IBM on Prodigy Services Corporation.

Telecommunications: This is a rapidly growing area especially with possible integration of the telephone, personal computer, and television. Some already existing facilities include, computerized fax systems, electronic mail, and telemedicine.

Computing in the Home: This was a promised land in the eighties and while the growth ho been slow, it seems to be coming on its own. Currently, computer services, such as, Prodigy. America On-line, and Compuserve re pushing their services aggressively.Internet: This refers to electronic networking of individuals with other individuals and organizations on a one-to-one basis or simultaneously.

Home Management and Intelligent Have Systems: The user is granted convenience and control over appliances and electrical equipment in the home through interactive systems, thus minimizing manual operations. There are three functional categories in the home system: interactive smart products, intelligent subsystems, and central home automation systems. This is at a very experimental stage and requires the integration of computers, fiber optics, multimedia capabilities, where data, voice, and visual communications come together.

21

MEDIA INDUSTRY

For the study purposes exploratory research is conducted, the secondary method is selected to collect the data.

Current status of the industry and its growth potential

The Indian economy continues to perform strongly and one of the key sectors that benefits from this fast economic growth is the E&M industry. This is because the E&M industry is a cyclical industry that grows faster when the economy is expanding. It also grows faster than the nominal GDP during all phases of economic activity due to its income elasticity wherein when incomes rise, more resources get spent on leisure and entertainment and less on necessities. Further, consumption spending itself is increasing due to rising disposable incomes on account of sustained growth in income levels, and this also builds the case for a strong bullish growth in the sector.The size of E&M in India is currently estimated at INR 353 billion and is expected to grow at a compounded annual growth rate of 19 percent over the next five years. The television industry continues to dominate the E&M industry by garnering a share of over 42 percent, which is expected to increase by a further 9 percent to reach about 51 percent. The share of the film industry, which currently stands at 19 percent, is not expected to change materially over the next five years. Print media, which stands at over 31 percent, is projected to lose some of its share in favor of the emerging segments.

Key growth drivers TelevisionSubscription revenues are projected to be the key growth driver for the Indian television industry over the next five years. Subscription revenues will increase both from the number of pay TV homes as well as increased subscription rates. The buoyancy of the Indian economy will drive the homes, both in rural and urban (second TV set homes) areas to buy televisions and subscribe for the pay services. New distribution platforms like DTH and IPTV will only increase the subscriber base and push up the subscription revenues.Filmed entertainmentIndians love to watch movies. And advancements in technology are helping the Indian film industry in all the spheres – film production, film exhibition and marketing. The industry is increasingly getting more corporatised. Several film production, distribution and exhibition companies are coming out with public issues. More theatres across the country are getting upgraded to multiplexes and initiatives to set up more digital cinema halls in the country are already underway. This will not only improve the quality of prints and thereby make film viewing a more pleasurable experience, but also reduce piracy of prints.

22

Print mediaA booming Indian economy, growing need for content and government initiatives that have opened up the sector to foreign investment are driving growth in the print media. With the literate population on the rise, more people in rural and urban areas are reading newspapers and magazines today. Also, there is more interest in India amongst the global investor community. This leads to demand for more Indian content from India. Foreign media too is evincing interest in investing in Indian publications. And the internet today offers a new avenue to generate more advertising revenues.RadioThe cheapest and oldest form of entertainment in the country, which was hitherto dominated by the AIR, is going to witness a sea-change very shortly. In 2005, the government opened up the sector to foreign investment – and this is the key factor that will drive growth in this sector. As many as 338 licences are being given out by the Indian government for FM radio channels in 91 big and small towns and cities. This deluge of radio stations will result in rising need for content and professionals. New concepts like satellite, internet and community radio have also begun to hit the market. Increasingly, radio is making a comeback in the lifestyles of Indians.Live entertainmentThis segment of the entertainment industry, also known as event management, is growing at a fast and steady rate. While this industry is still evolving, Indian event managers have clearly demonstrated their capabilities in successfully managing several mega national and international events over the past few years. In fact, event managers are also developing properties around events. The growing number of corporate awards, television and sports events are helping this sector. With rising incomes, people are also spending more on wedding, parties and other personal functions. However, issues like high entertainment taxes in certain states, lack of world-class infrastructure and the unorganised nature of most event management companies, continue to somewhat check the potential growth in this segment of the industry.Out-of-home advertisingOutdoor media sites in India are predominantly owned or operated by small, local players and are typically, directly marketed by them to advertisers and advertising agencies. However, this segment too is witnessing a sea-change with technological innovations. Growing billboard advertising is fuelled by technologies such as light-emitting diode (LED) video billboard. This is a segment that is seeing interesting technological innovations across the world and is likely to evolve in India too in the short-term.

23

Barriers to investment in the entertainment and media industryA lot more investment can be drawn into the entertainment and media industry if certain sectoral policy barriers can be addressed. Some of the issues that need to be addressed which commonly impacts all segments and need to be addressed urgently include:1. Piracy The problem of piracy assumes a different proportion in a country such as India with an area of 3.3 million sq. km. and a population of over 1 billion speaking 22 different languages. It impacts all segments of the industry especially films, music and television. Most of the credible efforts today to combat piracy have been initiated by industry bodies themselves. On part of the government, lack of empowered officers for enforcement of anti-piracy laws remains the key issue that is encouraging the menace of piracy. This, coupled with the lengthy legal and arbitration process, is being viewed as a deterrent to the crusade against pirates. The current Copyrights Act too is dated in terms of technology improvements, and above all, it does not address the needs of the electronic media which has maximum instances of piracy today. The draft of the Optical Disc Law to address the need for regulating piracy at the manufacturing stage is still lying with the ministry for approval. 2. Lack of a uniform media policy for foreign investmentThe sector currently lacks a consistent and uniform media policy for foreign investment. Some of the inconsistencies include different caps in foreign direct investment in various segments. This is enumerated below:• Television distribution: DTH 49% (strategic FDI only 20%); cable 49% (ownership can only be with India citizens).• Content (news): Television and print - 26%; radio - nil• Content (non-news): Television and print - 100%; radio 20% (only portfolio)3. Level playing field with incumbentsMost sectors of the Indian E&M industry have traditionally operated under various agencies of the Indian government, which were later opened to the private players in various stages. FM radio is one such example where the incumbent All India Radio (AIR) was the sole player in the medium of both AM and FM radio broadcasting. Limited frequencies of FM broadcasting have been opened to the private players but with a licence fee, which is not currently applicable to the incumbent AIR. Similarly, in television segment, all terrestrial broadcasting rights continue to be with the incumbent Doordarshan. 4. Content regulationA long-standing debate continues amongst the industry members on regulation of content. Some of the issues that need to be addressed in this sphere include:• Should there be a content regulator or should the industry be allowed self-regulation under a broad framework? • If there needs to be one, should the content regulator be independent of the carriage regulator?

24

• Should the content regulations be consistent across all delivery mediums such as films, television, radio and print or different sets of regulation should be evolved for each medium?• What should be the working mechanisms of a content regulation in terms of enforcement, penalties for default from prescribed guidelines etc.? 5. Price regulation in the television industryAs per a notification issued by the TRAI, broadcast media pricing has been frozen for over a year now. Though TRAI did allow a 7 percent inflationary adjustment late in 2004, the inflationary adjustment of 4 percent in 2005 is under a legal dispute. Such price controls limit a broadcaster’s ability to shape their business model, based on market demand and the competitive environment. Since the market has so far been efficiently regulated through competition, price regulation thus becomes a deterrent. 6. Cross-media ownership rulesMedia integration is an important tool in the hands of the media industry which by its very nature could lead to anti-competitive behaviour hurting the entire value chain of the industry. The government has been mulling over evolving cross-media ownership rules for which even a public draft has not been evolved as yet. Most E&M sectoral policy documents have an in-built compliance clause, which states that companies have to abide by the cross-media rules. However, in the absence of any draft rules or an established time-frame for evolution of such rules, potential foreign investors can’t evolve their long-term investment strategy for India. 7. Lack of empowered regulatorsAt present, the government has appointed an independent regulator – TRAI – for only television and radio. Here too, the role of the regulator has been restricted to providing recommendations on segment issues to the government, as a result the government has still not acted upon several recommendations by the regulator. Some of the key recommendations include ‘issues relating to broadcasting and distribution of TV channels’ of which ‘addressability in distribution’ forms a significant part impacting the largest segment of television. Other pending recommendations include ‘digitalisation of cable TV’, ‘privatisation of terrestrial broadcasting’, ‘licensing of satellite radio’ etc. 8. Merging of the FII and FDI caps Some industry members are of the view that converting the current cap on foreign institutional investment (FII) investment to foreign direct investment (FDI) is not a very encouraging move by the government. FII is primarily considered “hot money” and is invested by foreign funds to make quick returns unlike FDI, which is longer term in nature and is actually invested into the business. FDI in several cases is also accompanied with expertise (such as technology) being brought into the country that helps in the growth and development of the industry. An FII invests like a financial investor with the prime motive of quick appreciation of its invested capital rather than taking a longer-term view of the business, whereas an FDI investor is more in the nature of a strategic investor and is in the business for the long haul. The new policy does not recognise the need for creating an environment that encourages strategic investors in making investments in the sector.

25

9. Tax treatment of foreign broadcasting companiesThe tax treatment of foreign companies in the broadcasting sector in India is emerging as the single most important policy issue deterring foreign investment in the country. A major issue pertains to taxation of satellite segment usage fee paid by broadcasters to foreign satellite companies. Tax assessing officers have attempted to treat such a payment as royalty income and tax the same on source rule basis. Such satellite companies do not have any office or presence in India.

CARTOON INDUSTRYProfiles of major names in cartoon and animation industry

1.Dreamworks animation SKG is a fairly recent addition to the animation industry.

2.Pixar animation studios is famous for its computer-animated film shorts and for the feature films that it produces with Disney.

3.Eidos interactive is world’s leading developers and publishers of entertainment software, and is the largest video game developer in U.K.

4.Square Enix is responsible for video-games such as the final fantasy series, secret of mana, chrono trigger.

5.Walt Disney company is no doubt one of the most famous names in the animation industry, known for providing entertainment directed to adults and children alike; with theme parks around the world and a world-class animation studio and business franchise, the company nearly dominates the industry.

TRADITIONAL ANIMATION VERSUS COMPUTER ANIMATION

Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background

Computer animation the traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the

26

drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology.

Types of animation-

Full animation-refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the-Walt Disney to the more "cartoony" styles of those produced by the warner bros.

Limited animation-involves the use of less detailed and/or more stylized drawings and methods of movement.

Rotoscoping-is a technique where animators trace live-action movement frame by frame The source film can be directly copied from actors' outlines into animated drawings as in LORDS OF THE RING movie.

Types of computer animation-

2D animation-figures are created and/or edited on the computer using 2D bitmap graphics or created and edited using 2D vector graphics. This includes automated computerized versions of traditional animation techniques.

3D animation-are digitally modeled and manipulated by an animator. In order to manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use ofMotion capture to name but a few, these techniques fall under the category of 3d dynamics. Many 3D animations are very believable and are commonly used as Visual effects for recent movies.

Other animation techniques

Drawn on film animation: a technique where footage is produced by creating the image.

Paint on glass animation a technique for making animated films by manipulating slow drying on oil paints and glass sheets.

27

Erasure animation: a technique using tradition 2D medium, photographed over time as the artist manipulates the image

Pinscreen animation makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.

Sand animation sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast.

Flip book flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.

Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many 3D animations are very believable and are commonly used as Visual effects for recent movies.

Other animation techniques

Drawn on film animation: a technique where footage is produced by creating the image. Paint on glass animation a technique for making animated films by manipulating slow

drying on oil paints and glass sheets.

Erasure animation: a technique using tradition 2D medium, photographed over time as the artist manipulates the image

Pinscreen animation makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.

28

Sand animation sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast.

Flip book flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.

Stereo (3D) photography

A photograph can be very beautiful but is always limited to projecting a view onto a two-dimensional plane (the film/photo). Stereo photography is a technique to make two photographs of the same subject, from slightly different positions. For normal close, small objects, the two positions should differ approximately by the human eye distance (about 10cm or 4").

Care must be taken to photograph the same sky with exactly the same settings and do the two exposures as soon as possible after each other, in order to photograph the sky statically

Viewing stereo photo pairs requires some practice, but after this, anyone should be able to view stereo photos. The idea is that the pair of photos should be separated by approximately the same distance as that of your two eyes. Then, you have to look to infinity, while accommodating your eyes on the close pair of photos. The accommodation you will do automatically, but this is an unusual state of your eyes (usually when your eyes focus to infinity, they also accommodate to infinity), and you may develop a slight headache.

Focusing to infinity while accommodating to a nearby photo is what you have to practice. Do this by identifying two objects in both photos which are the same. Then gradually relax your focus. Do not keep focusing on the pictures. You will notice that the two objects which you were looking at, seem to merge together.

Photographing soap film colors

Soap films, films of oil on water, and some kinds of thin plastics may exhibit light-interference colors. These interference colors also occur in nature. Examples are cloud irisation and solar or lunar coronas in clouds.To study (and photograph) the interference colors, it is handy to know

29

the basics of soap films. You will have seen them when you were a youth, blowing soap bubbles, or as an adolescent, doing the dishes. use a 50mm standard lens on macro mode (bellows), but the camera may get too close to the wire frame and actually block the sunlight. This results in shadowed parts of your photo. You cannot circumvent this by photographing the film at an angle, as your depth-of-focus on macro mode is very shallow and parts of your photo would be unsharp.Try to leave the wire frame out of your photo. Keep in mind that the camera viewfinder may show less of the actual photo (many cameras show only 80% to 90%).You need to wait a few minutes for the soap film to become stable. Initially, you will see that the color bands appear, move and deform quickly. Since you may need exposure times down to 1/4 second, make sure that the colors are stationary.

Photographing mammatus

Mammatus is one of the more bizarre cloud forms. Many people who see mammatus for the first time are awe-inspired. Indeed, the mammatus with its inverted bulges of smooth cloud, sometimes showing high ordering, is a remarkable sight.

Mammatus occurs whenever there is a conditionally unstable cloud layer above clear air: when an air parcel from this cloud layer descends into the clear air below, the cloud droplets evaporate, cooling down the air parcel and making it descend even faster. Photography of mammatus requires either a super-wide angle lens, if you want to include the landscape (because good

mammatus is very high up in the sky, up to overhead), or a zoom lens and zooming in on the mammatus without a foreground.

Equatorial mounts for astrophotography

Equatorial mount which has one axis of rotation aimed exactly to either the north or south pole, so that the mount's polar axis is parallel to Earth's rotation axis. This mount requires only one motor, to rotate the polar axis once every sidereal day. This axis controls the right ascension. There is another axis which sets the declination ('vertical') angle, but this doesn't need to be motorized if you just want to take wide-field photos with a camera. The company Orion sells relatively cheap mounts for around $200 that perform very well. If you are going to be very much into astrophotography, you will want a better and more expensive mount, but for starters the cheaper mounts perform well, especially if you only do wide-field photography. The easiest way to get rewarding photographs (wide-field) is to mount the camera directly on the mount and let it track the stars. If you are new to astrophotography, I recommend you to use this method first, because it takes no special equipment other than the mount, and the photos can be amazing.

Photographing Iridium flares

30

Iridium flares are the name given to satellites from Iridium Co. frequently flaring up due to reflected sunlight off of one of their three antennae. The Iridium network consists of 66 satellites for global cell-phone communication, and the satellites are positioned very accurately about their vertical axis. Due to that accurate attitude, the reflections of sunlight from their antennae are very predictable, up to a few seconds accuracy days ahead of time.

Flares range in magnitude down to -9, which is about a factor 100 brighter (!) than Venus can get. A -9 flare briefly outshines all other stars and planets in the sky and is worthwhile to watch.

To observe or photograph a flare, the first thing you should do is look up when a flare will be due at your location.Some low angle flares (near the horizon) will be visible longer along the satellite's track than flares higher up in the sky. A flare path for a mag. -9 flare may be as long as 15 or 20 degrees, so it is really necessary to aim the camera well, or use a wide angle lens if you are unsure. The field of view of a 50mm standard lens is about 30 degrees.

Use 100 or 200 speed film and an aperture of f/2.8 or f/4. Set the camera on 'B' setting (Bulb mode) and open the shutter about 30 seconds to one minute before the flare is due.

EVENT MANAGEMENT

Event management is the application of project management to the creation and development of festivals, events and conferences.

Event management involves studying the intricacies of the brand, identifying the target audience, devising the event concept, planning the logistics and coordinating the technical aspects before actually executing the modalities of the proposed event. Post-event analysis and ensuring a return on investment have become significant drivers for the event industry.

The recent growth of festivals and events as an industry around the world means that the management can no longer be ad hoc. Events and festivals, such as the Asian Games, have a large impact on their communities and, in some cases, the whole country.

The industry now includes events of all sizes from the Olympics down to a breakfast meeting for ten business people. Many industries, charitable organizations, and interest groups will hold events of some size in order to market themselves, build business relationships, raise money or celebrate.

Event management is considered one of the strategic marketing and communication tools by companies of all sizes. From product launches to press conferences, companies create promotional events to help them communicate with clients and potential clients. They might target their audience by using the news media, hoping to generate media coverage which will reach thousands or millions of people. They can also invite their audience to their events and reach them at the actual event.

31

Event management companies and organizations service a variety of areas including corporate events (product launches, press conferences, corporate meetings and conferences), marketing programs (road shows, grand opening events), and special corporate hospitality events like concerts, award ceremonies, film premieres, launch/release parties, fashion shows, commercial events, private (personal) events such as weddings and bar mitzvahs.

Clients hire event management companies to handle a specific scope of services for the given event, which at its maximum may include all creative, technical and logistical elements of the event. (Or just a subset of these, depending on the client's needs, expertise and budget).

32

CONCLUSION

Creativity is not only the prerequisite for innovation and, thus, a core competitive factor incontemporary organizations. Creativity influences business processes and the way we conductbusiness process management. We have described typical scenarios in which creativity impactsbusiness processes and their management. Moreover, we have presented exemplary strategiesand actions that organizations apply to deal with the phenomenon of creativity to enhance process performance and quality of creative products. We believe it is both relevant and timely totake a closer look at the role that creativity plays within business processes and how it can bemanaged. Existent modeling techniques, software tools and management practices may supportsome of the important aspects in this context. However, until now there is no comprehensiveapproach on how to manage creativity from a business process perspective. With this paper wewould like to set the baseline for a discussion on the notion of the creativity-intensive process.

Over time, the online advertisement space is expected to change its composition. Presently, search engine marketing has a fairly high share of this space which is glaring in matured markets. Display advertisement, however, will continue to hold its share due to its distinct advantages such as ensuring long-term impression of a brand, a higher possibility of interactivity and delivering rich media messages to users. At the same time, online publishers and agencies are developing the space to deliver an immersive brand experience by bringing in concepts like augmented reality. The market is poised for huge growth, specially considering the fact that the traditional advertisers (FMCG, Consumer Durables, etc.) still form a small proportion of the overall online display advertising market in India . Further, the medium has a high viability for opening up a new segment of buyers altogether – the SMEs which form a substantial chunk of businesses in India. In order to grow the market, the online display advertising industry in India needs to develop globally accepted performance measures that also cut across various other media vehicles like television, print and radio. This would allow true media meshing. With the distinct advantage of online in terms of the number of hours spent online, immersive experience that online can offer and the contextual delivery of messages, online advertising is bound to emerge a winner. Further, the online publishers need to continue developing better user experiences so that online ads are not seen as a nuisance, rather are sought after. All in all there are exciting times ahead for the online display advertising in India.

33

The Indian entertainment and media industry today has everything going for it - be it regulations that allow foreign investment, the impetus from the economy, the digital lifestyle and spending habits of the consumers and the opportunities thrown open by the advancements in technology. All it has to do is to cash in on the growth potential and the opportunities. The government, on its part, needs to play a more active role in sorting out policy-related impediments to growth. The industry needs to fight all roadblocks- such as piracy- in a concerted manner, while churning out high-quality, world class end products. The entertainment and media industry has all that it takes to be a star performer of the Indian economy.

34

REFRENCES:

www.bptrends.com

www.pwc.com/india

http://www.sigs.de/publications

www.nessi-europe.eu

www.euromonitor.com

www.crito.uci.edu/noah

35