MAM
Narendra Ambwani is the new chairman of ASCI
MUMBAI: At the board meeting of the Advertising Standards Council of India (ASCI), Agro Tech Foods director Narendra Ambwani, was unanimously elected chairman of the board.
As a member of the board of governors for seven years, he has provided active support to self-regulation in the advertising movement.
Benoy Roy Chawdhuri, was elected vice-chairman while Shashidhar Sinha was appointed the honorary treasurer.
The other members of the new board of governors are: Hemant Bakshi, Arvind Sharma, Dilip Cherian, SK Palekar, Jayant Singh, Subhash Kamath, Srinivasan Swamy, Rajan Anandan, Shantanu Khosla, Abanti Sankarnarayanan, I Venkat, Arunabh DasSharma and Partha Rakshit.
During the year 2013-14, the Consumer Complaints Council (CCC) met 41 times and considered complaints against 1937 advertisements. Of these, complaints against 1520 advertisements were upheld, while 414 were not upheld and 3 were considered non-issues. In more than 90 per cent of the cases, where a complaint against the advertisement was upheld, the advertisements have been voluntarily withdrawn or modified as per the CCC’s decisions.
The outgoing chairman of ASCI Rakshit said, “Last year has been a very eventful and successful year for us. ASCI’s effective action towards reducing the complaint processing turnaround time to just 12 days has led ASCI to win the prestigious EASA Gold Award for Best Practices. There has also been more than 90 per cent compliance towards the advertisements wherein a complaint against an advertisement was ‘upheld’. These advertisements were either withdrawn or have been appropriately modified. In a noteworthy achievement, ASCI issued guidelines on skin lightening and fairness products which ensured that these advertisements do not depict people with dark skin as somehow inferior to those who are fairer. Also recently, government took notice of ASCI’s efforts to curb Teleshopping ads that violate ASCI code and ensured a strict compliance of the advertising code in the Cable Television Networks Act (CTN).”
Ambwani said, “There has been tremendous change in ASCI’s approach towards advertising content and adherence to the ASCI’s guidelines by the advertisers. Earlier, we acted primarily on complaint received from the public or the industry body. In the coming year, we hope to promote ASCI’s guidelines more vigorously among advertisers and creative agencies, so that new ads meet ASCI’s standards at the creative stage itself. We also hope to collaborate strongly with the regulators and consumer groups to ensure fairness and responsibility in advertising”
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.
