MAM
IndIAA Awards to be held on September 16
MUMBAI: The India Chapter of the International Advertising Association (IAA), launched the IndIAA awards “for real creative advertising that was backed by real budgets” last year. Nominations for the second edition were invited and unprecedented number of nominations was received and reviewed.
D Shivakumar, Chairman & CEO, PepsiCo India, Chaired a jury of senior business leaders, which included Shantanu Khosla, Crompton Greaves, VL Rajesh, ITC Foods, Geetu Verma, Hindustan Unilever, Sanjay Behl, Raymond and Amit Syngle, Asian Paints. The Jury members met and determined the winners in a process that was both objective and transparent.
D Shivakumar, Chairman & CEO, PepsiCo India, said, “We just finished seeing over 100 shortlisted commercials from 19-20 categories. We spend about 4 1/2 hours reviewing some outstanding work & some average work. We judged the commercials & the whole campaign under 3 parameters 1) does it make us think on the brand and the category in a fresh way 2) Is the benefit visualized brilliantly as a lot of it is in the audio visual medium 3) How campaignable is this. I must say that the whole process has been outstanding and the results have been pretty simple & clear. I wish all the winners the very best & for those who haven’t won, best of luck for the next time”
Pradeep Guha, Chairman, IndIAA Awards, said, “In our second edition, advertising campaigns that were released between July 1, 2015 and June 30, 2016 will be honoured in multiple product and service categories. To qualify for the Award, the campaign should have film (TV or Digital) as one of its elements. In each product or service category, no more than an overall winner was awarded. The awards ceremony is now slated for 16th September, 2016 at ITC Maratha, near Sahar Airport, Mumbai.”
Srinivasan Swamy, President, IAA India Chapter and SVP, IAA Global, added, “At the IndIAA Awards event, you will see campaigns that have been watched and loved, and went on to impress our stellar jury. Therefore, we will invite on stage all the co-creators of the campaign to accept the award. This will include the marketing team, the agency creative team, the media team and other agencies that contributed to the success of the campaign. A special website www.indiaa-awards.org now hosts all the nominees of the campaigns across 20 categories. Advertising and Marketing professionals can review the work and indicate their choices by clicking on the ‘like’ button.”
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
